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A Woman Will Have Her Will 












A Woman Will Have Her Will 











The present edition of Englishmen for My Money was pre- 
sented to the faculty of the Graduate School of the University 
of Pennsylvania, in 191 5, in partial fulfillment of the require- 
ments for the degree of Doctor of Philosophy. As a result 
of investigations carried on since it was accepted, a few changes 
have been made in the introduction. 

In the preparation of the text no pains have been spared 
to produce an absolutely accurate edition. In carrying on 
the work a number of obligations have been incurred, which 
it is a pleasure to acknowledge here. To Mr. William A. 
White, of New York, I wish to express my gratitude for so 
freely putting in my hands on two occasions his copy of the 
first quarto. To Mr. Henry E. Huntington, of New York, I 
am similarly indebted for permission to make use of the two 
copies of the second quarto and four copies of the third quarto 
in his collection. In this connection I am indebted to Mr. 
George D. Smith for his kindness on two occasions; and to 
]Mr. George Watson Cole I am deeply grateful for his unfail- 
ing courtesy that made my days spent in the Huntington 
library so pleasant. In matters touching the introduction and 
notes, particular obligations are recorded in their special con- 
nections. It is, however, a special pleasure to acknowledge 
the kindness of Professor Charles William Wallace, who not 
only communicated to me his discovery of Haughton's will, 
but gave considerable time to the investigation of one or two 
points in which I was especially interested. In the whole 
study I have been under constant obligation to the members 
of the English department at Pennsylvania. To Professor 



Clarence G. Child I am especially indebted for his interest in 
all parts of the work and for his constant stimulation and 
encouragement. And to Professor Felix E. Schelling I owe 
my greatest debt. It was he who suggested the work; under 
his direction it was carried on; and his searching and quicken- 
ing criticism at all times has prevented it from being more 
imperfect than it is. 

A. C. B. 
Philadelphia, June i, 1917. 


The Haughton family — Various William Haughtons — William Haughton 
the Dramatist — Birth — The Question of College — His Dramatic Career, 
1597-1602 — First Period, Nov. 1597-May, 1598 — Second Period, Aug. 
1599-May i6co — Third Period, Dec. 1600-Nov. 1601 — Fourth Period, Sept. 
1602 — Imprisonment in the CHnk — Death and Will — Other Records. 

On the fifth of November 1597 the theatrical manager Philip 
Henslowe entered in his account book : " lent vnto Robart 
shawe ... to by a boocke of yonge horton for the company of 
my lord admeralles men & my lord of penbrockes the some of 
[ten shillings]." ^ This memorandum is the first record we 
have of a dramatist who was connected with the Elizabethan 
stage for the brief period of five years, who attained but 
little renown in his own day, and who has remained but little 
noted since. Following this entry in the Diary there occur 
from time to time many similar jottings recording advances 
of various sums, mostly as payments for plays. These memor- 
anda, except for his literary work, are almost the only ma- 
terials we have out of which to construct the life and career of 
William Haughton. 

To trace the career of a second or third rate dramatist 
is often attended with great difficulty. The general un- 
importance of such a man in his own age leaves us with 
few documents concerning him, and his inability to achieve 
fame or even to become generally known deprives us of 
such ordinarily available matter as allusions to him or his 
work. In most cases we must be content with only the scan- 

^ Henslowe's Diary, ed. Greg. I, 69. 


tiest documentary remains and, as is to be expected, we have 
but the scantiest of WilHam Haughton. The one personal 
incident in Haughton's Hfe for which we have had direct tes- 
timony is that he was for a time in the CHnk, a prison on the 
Bankside. A few new facts are here added from his will, 
hitherto unpublished. All other records of him that we pos- 
sess concern his work as a writer of plays. We do not know 
when he was born or the exact date when he died, and his 
immediate family as well as the district in which it was 
situated is unknown. 

The Haughton family — the name is more often written 
Houghton — appears to have been in England from a very early 
date. As far back as the time of Henry H, one Adame de 
Hoghton (if our source can be relied upon) held a carucate 
of land in the county of Lancaster. '^ Lancashire appears to 
have been the district originally occupied by the Haughtons 
and it remained the principal seat of the family for a long 
period. The Houghtons of Houghton Tower held in the reign 
of Elizabeth a position of considerable prominence in affairs 
both local and national, and all those who bore the name 
Haughton and who had any care for their pedigree attempted 
to trace their descent from this house. The family was not 
confined, however, to Lancashire. It early spread to other 
sections of the country and even into Ireland. The records of 
the fifteenth, sixteenth and seventeenth centuries show Haugh- 
tons in almost every county of England. London in the 
time of Elizabeth contained a large number of them represent- 
ing all classes of society, and other sections of the country 
showed them in almost equal force if not of equal importance. 
References to them in the documents of the period occur with 
surprising frequency and we should in all probability be justi- 

1 See Burke, J., Hist, of the Commons, 1833, I, 523. 


lied in considering them one of the most numerous and wide- 
spread famiHes in EHzabethan England/ 

In the sixteenth and seventeenth centuries there appear in 
the record several Haughtons to whose names some interest 
or importance is attached in connection with their time. The 
first that may be mentioned is John Haughton, the last prior 
of the Carthusian monks of Charterhouse, in London, who was 
executed at Tyburn 4 May 1535 on the charge of treason, for 
refusing to acknowledge Henry VIII as the supreme Head of 
the Church of England.^ Frequent contemporary reference 
to the event attests the notoriety it obtained. Next, perhaps, 
may be mentioned the name of Peter Haughton, who occupied 
several offices in the government, — was for a time farmer of 
the imposts, later became a sheriff of London, and finally an 
alderman of the city. His death occurred in 1596.'' About 

1 The writer has collected references to upwards of five hundred different 
individuals bearing the name ' Haughton ' in the England of the time and 
the number can certainly be increased. Prof. Wallace says in a letter, 
" I come upon Haughton's by the hundreds . . . Few days of extensive 
search pass without meeting the name." 

' For a full account, see Froude, Hist, of England, 1870, II, 362-2S3. 

' In connection with his being farmer of the imposts, cf. Cal. State 
Papers, Domestic, III (1591-4), pp. 286-7; Acts of the Privy Council, 
XXII, 86, 513; XXIII, 180, 319, 321. For him as sheriff, see Stow, Survey, 
ed. Kingsford, 1908, II, 185 and State Papers as above, pp. 336, 423; as 
alderman, see Acts of the Privy Council, XXVI, 19, 363, 525. Other in- 
formation may be found in Acts, XXIV, 330; State Papers, Dom., IV 
( 1595-7) > 18, 19, 32)', and on p. 57 of the latter an interesting document 
concerning his income. He died, as Stow tells us (I, 197), in 1596, and the 
parish register of St. Michael Cornhill under date of 18 January 1596 rec- 
ords the burial of " ^fi'Peter Houghton, Alderman of this cittie." {Har- 
leian Registers, VII, 207). In 1591 he was apparently living in the parish 
of St. Gabriel, Fanchurch, Langborne ward (Exch. K. R. Certificates of 
Residence, Bdl. 177, Letter H). His father was Thomas Houghton (Stow, 
T, 198). His wife, Mary, married again a little over a year after his 
death, as appears from the marriage license granted 14 May 1597 
("Thomas Vavesor, of London, Esq., & Mary Hawghton, widow of Peter 
Hawghton, late one of the Aldermen of London; Gen. Lie." — Marriage 
Licenses Granted by the Bishop of London, Harl. Soc. XXV, 238). 


the same time there appears in the records one Roger 
Haughton, who received certain grants from the crown 
and on two occasions considerable sums of money as re- 
imbursements for ships belonging to him which had been 
sunk. Space does not permit the recording of details 
here/ It must suffice to say that he appears as a man 
of considerable means, more or less closely connected with 
the government. Still better known is the name of Sir 
Robert Haughton who was born in co. Norfolk, studied 
law at Lincoln's Inn, occupied various positions in con- 
nection wath his profession until he became a Member of 
Parliament, and from 1613, when he was knighted, until his 
death w^as a Justice of the King's Bench." Finally, Haughton 
seems to have been the name of Milton's grandmother on his 
father's side.^ If this is so, she belonged to a branch of the 
family situated in Oxfordshire, more humble than the Haugh- 
tons of Lancashire and London. These few names which we 
have thus been able to mention will serve perhaps to show the 
importance to which some members of the Haughton family 
attained in Elizabethan England, and especially in Elizabethan 

It would be an interesting discovery if it could be shown 
that William Haughton, the dramatist, was connected with any 
of the persons just mentioned. But this is unfortunately not 
possible. Were evidence forthcoming — in the parish registers, 
for example — to show that the bearer of any one of these 

' Those who are interested may consult Devon, F., Issues of the Ex- 
chequer . . , James I, London, 1836, p. 5; State Papers, Dom., Ill (1591- 
4), 360; IX (1611-18), 109; VI (1601-03), 163; VIII (1603-10), 538, 613; 
Index Library, IV, 42, 50. See also the parish register of St. James, Clerk- 
enwell, Harleian Registers, XVII, 136. 

^See Foss, E., Judges of England, 1851-64, vol. VI, 161-2. 

'Masson, Life of John Milton, I (1881), 21-3. Cf. Camden Soc., voL 
75. pp. 43-4. 


names had a son William, an identification with the dramatist 
would still not be warranted, for our problem is complicated 
by another circumstance. There were other William Haugh- 
tons than the dramatist living in London, and in other parts of 
England, at the close of the sixteenth and the beginning of the 
seventeenth century. The parish register of St. Mary, Alder- 
mary, London, for example, records the burial 31 May 1598 of 
a " William Hawton ";^ and in the same year there was pro- 
bated in the consistory court at Canterbury the will of " Wil- 
liam Houghton, citizen and merchant tailor of London, St. 
Nicholas Cole Abbey." " Several William Haughtons seem 
to have lived in the district of Clerkenwell, particularly in the 
parish of St. James. As early as 1577, in a will, there is 
mention of a " house in Turnmill-street, which one William 
Houghton, of London, saddler, holdeth ... by lease " ; ^ and 
in the early seventeenth century the parish register of St. 
James, Clerkenwell, contains several records of William 
Haughtons. On 19 February 1629 there is the christening 
of a " Dorothy d. of William Haughton & Isabell vx." ■* and 
on 3 June 1633 the burial of this " Isabell wife of Will'm 
Haughton." ^ On 31 July 1623 there was interred " Drayner 
s. of Mr. William Haughton, in South lie," ^ and the latter 
was himself buried 17 September 1624.'^ On 23 July 1641 
" Will. Haughton, a lodger " was buried,* and on 21 Septem- 
ber 1647 there was interred " William s. of Henry Houghton, 

^ Harlcian Registers, V, 149. ^ British Rec. Soc, XXV, 200. 

3 Pinks, W. J., The History of Clerkenwell, 1881, p. 344. 

* Harleian Registers, IX, 113. 

Uhid., XVII, 208. ^Ibid., XVII, 160. 

'"Mr William Haughton, Esq^, in South He" {Ibid., XVII, 164). This 
cannot be the same as the William Haughton, husband of the Isabel above 
mentioned, who was buried in 1633, for she had a daughter Dorothy, also 
mentioned above, who was christened in 1629. 

«/6id., XVII, 247. 


gent." ^ The burial of " Elizabeth d. of William Haughton " 
(probably one of the above) is recorded under date of 23 
March 1623/4. Numerous other William Haughtons, within 
and without London, will be mentioned below or are referred 
to in the footnote appended to this passage." We have only 
space here to note finally that in Weever's Epigrams, pub- 
lished in 1599 (ed. Mc Kerrow, p. 92), there occurs an epi- 
gram addressed to " Gulielmum Houghton," not, it would 
seem, the dramatist.^ So many William Haughtons living in 

^ Harleian Registers, XVII, 2y2i- 

' There is no need here to record in detail the particulars concerning 
the William Haughtons whom we have not been able to mention in the 
text. It will be sufficient to refer the reader to the following sources 
where he may easily find the material available: Index Library, IV, 6; 
Chetham Soc., IV, 28-9n; Oxford Hist. Soc, XXIII, 93; XXXVII, 244; 
Harleian Registers, XIII, 72; British Record Soc., XXIII, 6, 11; Acts of 
the Privy Vouncil, XXII, 546; Pettigrew, T. J., Chronicles of the Tombs, 
Lond., 1878, p. 476; Index Lib., I, 90, 135, 159; Brit. Rec. Soc, XXVII, 
122; VIII, 93; VII, 443- 
* The epigram is as follows : 

In Gulielmum Houghton. 
Faine would faire Venus sport her in thy face, 
But Mars forbids her his sterne marching place : 
Then comes that heau'nly harbinger of loue, 
And ioyns with Mars & with the queen of Loue 
And thus three gods these gifts haue given thee, 
Valour, wit, fauour, and ciuilitie. 
Since Mc Kerrow in the notes to his edition (p. 122) says, " I can dis- 
cover no William Houghton," it may be worth while to note here that 
the person referred to was probably William Houghton, son of the 
Thomas Houghton who was killed in a brawl at Lee Hall (Lancashire) 
in 1590 and who is possibly the subject of Weever's epigram ' In tumulum 
Thomae Houghton Armig.' (also on p. 92). This Thomas was perhaps 
the brother of the Sir iRichard Houghton, to whom Weever dedicates the 
(first half of the) volume and who is the subject of epigrams on pages 
91 and 112. The three epigrams on Sir Richard, Thomas and William 
are printed consecutively in the volume except for a tail-link. (For the 
murder of Thomas Houghton, see Cal. State Rafters, Domestic, III (1591- 
4), p. 188; Chetham Society, vol. 99, p. 131; Whitaker's History of 
Whalley, etc.). 


Londuii, and elsewhere in England, at this period make it quite 
impossible to identify the dramatist. There is no reason to 
identify or connect him with any of the Haiightons just men- 
tioned or with any of the more important members of the 
family spoken of above, although that he was not connected 
with them is, of course, in most cases equally incapable of 

Since we are so badly ofif for definite information concern- 
ing Haughton, our account of his life must needs be somewhat 
fragmentary. That his first name was William we may be 
altogether certain, nothwithstanding the confusion that at 
times has existed about it and the occasional reference to him 
as Thomas. In Henslowe's Diary he is on all occasions save 
one, where the surname is used, called William, and we have 
in the Diary no less than eight autograph signatures, all of 
them showing the name correctly as William Haughton. The 
one entry ^ in which he is called Thomas is in another hand and 
is obviously a mistake. In the spelling of his last name there 
is considerable variation. In the Diary the forms Harton, 
Horton, Hauton, Hawton, Howghton, Haughtoun, Haulton 
and Harvghton all occur beside Haughton ; - but the latter is 
the only spelling used in the autographs and is thus the one 
preferred by the dramatist himself. 

The date of Haughton's birth is unknown, but we can esti- 
mate it with a fair degree of approximation. When he first 
appears in the Diary he is called " yonge horton," an indefinite 
appellation capable of a variety of interpretations. The mean- 
ing may be absolute or relative. Henslowe may have meant 
that Haughton was literally a youth ; or he may have considered 
him young in comparison with the other playwrights working 

' F. 64 line 5. 

^ Strangely enough the spelling Houghton does not occur. It is, how- 
ever, the spelling of the will. 



for him. We unfortunately know very little about the dra- 
matists who were in Henslowe's employ in November 1597. 
It is not until this date that Henslowe begins to record the 
names of the authors who were writing for him and when he 
does Haughton's is the first that appears. Jonson, though his 
name occurs in the Diary as early as 28 July 1 597, is not men- 
tioned as a writer until 3 December of that year. Next, if we 
omit two unnamed young men, come Drayton and IMunday 
(22 Dec); on 8 January 1598 Dekker appears, and Chettle 
is first mentioned 20 February 1 598.^ Of all these men Jonson 
was the youngest, being in November 1597 twenty-four; and 
if Haughton then was younger than the rest of the writers in 
Henslowe's employ, the evidence at our disposal, though in- 
complete and uncertain,^ would lead us to presume that Haugh- 
ton was less than twenty-four.'' On the other hand, there is 

' The question whether Dekker was connected with Henslowe's company 
as early as 1590 or 1594 is of small moment in the present connection, since 
there is no reason to suppose that the association was a continuous and 
unbroken one. On the contrary the 8 January 1598 appears to mark the 
beginning of a new connection. 

We should not forget that there is no evidence that any of these men 
were writing for Henslowe before the date when they first appear in the 
Diary, and that there may have been others not mentioned by name. 

Other suggestions, probable or improbable, which might be made to 
account for the epithet "young" are that the dramatist was j-outhful in 
appearance, young for his years, etc., or that he was a " young writer " — a 
new man. It might be argued that the designation " young Haughton " 
impHes on Henslowe's part a certain familiarity with the dramatist at the 
time he made the entry; but it might be urged with equal justice that 
Henslowe so referred to him because he was not very familiar with him, 
perhaps did not know his first name. Of the latter possibility nothing can 
be said. In the former case, Haughton may have been writing for Hen- 
slowe before the records in the Diary begin ; or he may have been known 
to Henslowe through some other circumstance. Henslowe had, for ex- 
ample, during the last five years of his life, a charwoman named Joan 
Horton (Cf. Greg, II, 19) ; but it is idle in the absence of evidence to 
speculate on the possibility of any connection between the dramatist and 
the woman here mentioned. 



reason to think that he was not a mere boy. His mind shows 
a certain maturity, his education suggests a university train- 
ing, and his knowledge of foreign languages seems greater 
than was common among Elizabethan youths. It is unlikely 
that he was under twenty when he began to work for Hens- 
lowe. Gayley has guessed the date of his birth to be about 
1578. Our own deductions would place it between about 
1573 and 1577. This is as much as to say he was not older 
than Ben Jonson and possibly a few years younger. The year 
1575 or 1576 is probably not far from the date of his birth. 

Of his birth place, early life and education nothing is known. 
The last, however, seems not to have been neglected. In his 
work, as we have said, we not infrequently meet with things 
that suggest his having gone to college. His reference to 
Oxford, allusions to philosophy and classical antiquity, mytho- 
logical, literary, and historical, — all furnish grounds for the 
opinion, which has several times been expressed, that he was a 
university man. An attempt has been made on at least one 
occasion to connect him with a particular university. Cooper, 
in his Athcnac Cantahrigicnscs (II, 399), identifies the dra- 
matist with a " William Haughton, M. A. of Oxford, [who] 
was incorporated in that degree here in 1604." This identi- 
fication has several times been doubted ^ on general grounds, 
but never disproved. It is, however, erroneous. An appeal 
to the Registrary of Cambridge University, which was an- 
swered most courteously by his assistant, Mr. C. J. Stone- 
bridge, revealed the fact that Cooper's identification was based 
upon a misreading of the records. The words of Dr. J. Venn, 
to whom the matter was referred, are as follows: ''Cooper's 
statement is wrong. It was a William Langton who 
incorporated from Oxford in 1604. Richardson in his 
MS. Catalogue of incorporations, had misread the word as 

1 Ward, 11, 606; Bullen in D. N. D., etc. 


Haughton ; and Cooper followed him. On Cooper's and Rich- 
ardson's authority, the mistake was repeated in the '' ^^latricu- 
lations and Degrees," though the correct name, William Lang- 
ton, there appears in its place." This of course, disposes of 
the whole matter. From the same authority. Dr. Venn, I learn 
that there is no record of early date of any William Haughton 
at Cambridge save one who matriculated at St. John's College 
in 1605, received the degree of B. A. 1608-9 ^""^ ^J^- '^- 161 2. 
Since this can not be the dramatist, there is no evidence that 
Haughton was ever at Cambridge. 

Even if it were not possible to show the incorrectness of 
Cooper's identification, evidence would be strongly against the 
assumption that Haughton was a Cambridge man. In the 
first scene of Englishmen for My Money, Anthony, the school- 
master, is made to say : 

When first my mother Oxford {Englands pride) 
Fostred mee puple-like, with her rich store, . . . 

With a full recognition of the qualities of dramatic speech and 
a thorough appreciation of the danger that attends attributing 
to an author sentiments and opinions expressed by the char- 
acters in a play, we may still feel perfectly confident in assert- 
ing on the strength of this passage that Haughton's university 
was not Cambridge. No Cambridge man would have written 
these lines; they rather indicate on the part of the author a 
certain interest in Oxford, an interest possibly objective, per- 
haps merely local. But whatever interest Haughton had in 
any university, we may depend upon it, was centered in that 
one which he calls " England's pride." There is, however, no 
evidence that Haughton was at Oxford. The register of the 
university contains no William Haughton, of approximately 
this period, that is earlier than 1608 and 1614,^ and there is no 

'^Register of the Uiikersity of Oxford, vol. II (1571-1622) Part IV 


Other information forthcoming. We are forced to leave the 
question without a final answer, but we may venture the opinion 
that if Haughton was a university man at all he probably re- 
ceived his university training at Oxford. 

Haughton's dramatic career, so far as we know, extends 
from 1597 to 1602. How continuous and uninterrupted it was 
it is difficult to say. If his activity was confined entirely to 
Henslowe's mart it was interrupted by several very definite and 
at times considerable breaks, for his dealings with Henslowe 
fall in point of time into four rather distinct periods. During 
the intervals which separate these periods we hear nothing of 
him and he may have been working elsewhere. However this 
may be, all his dramatic activity that we know anything about 
was employed in the service of Henslowe; and the periods into 
which it falls may be taken as convenient sections or divisions 
by which to obtain a rapid survey of his work. 

The first period of his activity extends from the time when 
he first appears in the Diary, 5 Nov. 1597, until May 1598. 
Though not of very long duration, and not even uninterrupted 
while it lasts, it is for us the most important portion of his 
career. During the last three of these six months he was 
writing his most important play, if not his only extant unaided 
piece, Englishmen for My Money, the play by which he is 
chiefly known to-day. After the last recorded payment on 
this play there is an interval of a year and three months during 
which he disappears from sight. 

When he returns to view in August 1 599, receiving payment 
for The Poor Man's Paradise, the second period of his ac- 

{Oxford Hist. Soc, vol. 14), 1889, p. 220. Mr. Reginald L. Poole, Keeper 
of the Archives, Magdalen College, Oxford, kindly writes me: "The 
name [. . . William Haughton] does not appear in those of Oriel, Exeter, 
or Magdalen Colleges. Whether it could be found in those of the twelve 
other Colleges existing in 1597 or the six academical Halls could only be 
ascertained by a long investigation of the separate records ..." 


tivity begins. At this time he began to work regularly for 
Henslowe, and it is here that we have, except for his first 
period, by far the most interesting section of his carreer. Dur- 
ing the ten months that it lasted (till May 1600) he was 
working at tremendous speed and produced either alone or in 
collaboration with others no less than twelve plays. ^ At times 
in this period he produced as many as three plays in one month 
and on occasions must have had three and even four plays un- 
der way at the same time. True, only four (or five) were his 
unaided work, but with all necessary allowances such a burst 
of industry is remarkable and is safe evidence of the fertility 
and facility of the man when he was in the mood. 

With the entry of May 1600, however, for a play called 
Judas, Haughton's work for Henslowe is again interrupted 
and the next six months mark the second considerable gap in 
his career. His apparent inactivity this time was probably an 
enforced one. From the circumstance that the careers of 
Chettle, Dekker, Day, Hathway and Munday suffered a sim- 
ilar interruption in July 1600 and were not resumed until the 
following December and January, Greg concludes that there 
was a " suspension of dramatic activity from July to Nov. 
1600 " — a conclusion which is fully justified by the evidence. 
When activities are resumed, however, Haughton and Dekker 
are the first to reappear in Henslowe's accounts and with the 
payment of twenty shillings for a play called Robin Hood's 
Pen'orths, 12 Dec. 1600, Haughton's third period of activity 

In this term, which also lasted about a year, he was not 
working so intensely as before, but he managed to turn out nine 
plays, all except the first in collaboration with others. In this 
period we find him no longer writing with Dekker and Chettle 

1 This number includes The Devil and His Dame. 


as his collaborators. Instead he is very closely associated 
with Day, producing with him six plays in steady succession. 
Hathway and Wentworth Smith are his only other co-workers 
in this period. In Nov. (1601) the entries once more cease 
and with them Haughton's last period of real activity. It may 
be noted that from February to April 1602 Henslowe again 
suspended operations.^ Haughton's absence from the Diary, 
however, is of greater duration, continues in fact close to a 
year. When he finally appears again for the fourth and last 
time it is only for a brief period in September 1602 when he 
received fifty shillings from Henslowe for a play called JVilliafii 
Cartivright. This is our last trace of him in the Diary. 

As we look back over these alternating spells of activity 
and inactivity, the question immediately presents itself : How 
was Haughton engaged during the periods when he appears, so 
far as Henslowe's record is concerned, to have been unpro- 
ductive? Few if any of Henslowe's playwrights could afford 
such periods of leisure and there is good reason to believe 
that Haughton was not one who could. On one occasion,- for 
example, when he was in prison Henslowe had to advance him 
ten shillings to procure his release. Again, that he was forced 
at times to appeal to Henslowe for small loans is evidenced by 
the entries " lent to \v^ hawton . .ijs " and " lent more ijs " 
in the margin of Fol. 69^ opposite an entry dated 14 June 1600. 
It would seem to have been imperative for Haughton to have 
had some means of earning a living during the breaks in his 
activity for Henslowe. But what this means was we do not 
know. Some of the dramatists, such as Heywood or Jonson, 
were also actors ; some, like Dekker or ]\Iunday, were general 
pamphleteers and hack writers. But there is no evidence that 
Haughton was either; as far as we know he was only a dra- 

1 Greg, II, 2,72. 
- See below, p. 20. 


matist. There are cases where it is certain that dramatists 
wrote exclusively for one company. In other cases, however, 
we know that it was not unusual for a playwright to jump from 
one company to another. Hathway, whose career is broken up 
very much like Haughton's by intervals during which we hear 
nothing of him, was probably writing, Greg suggests, " for 
other companies of which we have no detailed records." ^ It 
is not impossible that Haughton was doing the same. This 
would mean that he was the author of other plays than those 
the names of which we know from Henslowe. The fact 
that we know nothing of such plays is not surprising. Haugh- 
ton, like Heywood, was not in the habit of publishing his plays, 
but was apparently careless of his work when he had once 
converted it into money. To be brief, while direct evidence 
is lacking, there seems no more likely way to account for gaps 
which certainly ought to be accounted for than to suppose that 
during these intervals Haughton was working for other com- 
panies than Henslowe's. 

It has been mentioned above that Haughton was at one time 
imprisoned in the Clink. The evidence for this detached bio- 
graphical detail is to be found in an entry in Henslowe that 
runs as follows : 

Lent vnto Robarte shaw the lo of marche 1599 

to lend w™ harton to Releace hime owt v x^ 

.._^___ _ __ . I. 

of the clyncke the some of - ) 

The date would of course be 1600, new style, and the sum 
equivalent to about fifteen dollars to-day. The Clink was one 
of the five " prisons or Gaoles " which Stow tells us were situ- 
ated in Southwark ; and he further describes it as " a Gayle or 
prison for the trespassers in those parts, Namely in olde time 

' Diary, II, 270. 

'Z)iao', F. 68 (Greg. p. 119). 


for such as should brabble, frey, or breake the Peace on the 
saide banke." ^ It should be observed that Stow merely says 
the prison was put to such use " in olde time." Wheatley and 
Cunningham (I, 426) are authorities for the statement that it 
was also used for debtors. This appears to have been the case. 
We cannot tell why Haughton was there, but it may easily have 
been for debt. Massinger, Chettle, Daborne and others were 
for a time confined there. We have other cases, too, in which 
Henslowe bailed his playwrights out of prison. On one oc- 
casion he lent Dekker forty shillings to discharge him from the 
Counter and in 1599 he advanced ten shillings to Chettle to 
release him from the Clink, the same sum he had lent Haugti- 
ton. On the whole we need not be at all surprised that Haugh- 
ton was in the Clink; on the contrary we should see in the 
incident but one of many evidences manifesting how typical a 
member he was of Henslowe's following. 

Within three years after the last appearance of his name 
in the Diary Haughton died. His death occurred between the 
sixth of June and the twentieth of July 1605. That we are 
able to state this fact definitely is due to the researches of 
Professor Wallace and to his kindness in permitting here the 
publication of the dramatist's will. It is a nuncupative will, 
made in extremis, and witnessed by his friend and collaborator, 
Wentworth Smith, " and dyuers others " : '' 

1 Stow. Survey, ed. Kingford, 1908, II, 55-6. Taylor, the Water-poet, 

has the following verses on the prisons of Southwark : 
Five jayles or prisons are in Southwarke placed, 
The Counter once St. Margaret's church defaced. 
The ^larshalsea, the King's Bench, and White Lyon, 
Then there's the Clinke where handsome lodgings be. 

(Quoted Stow, II, 366). But Strype says the prison is "of Httle or no 

concern." Cf. Wheatley and Cunningham, London Past and Present, I, 426. 
^ The text here given is from the transcript sent me by Dr. Wallace in 

a letter dated 17 Sept. 1915. Abbreviations I expand in italics. 


T[estamentum] Willelmi Houghton memorandum that 
on the v']^^ daie of June 1605, William Houghton 
of the parishe of AUhoUowes Stayning^j London, 
made his last will, Xuncupatiue in manner & forme 
or in effect followinge. That is to saie. The saide 
WilHam Houghton beinge demaunded to whome hee 
would giue his goodt-j, Hee answered in these wordes 
or like in effect, viz* I doe giue all my good^j 
chattells & dehtcs whatsoeu^r vnto my wief Alice 
Houghton toward^j the payment of my debtf?^, and 
the bringinge vp of my children, And I doe no;/;i«ate 
and appoynte the saide Alice my wief, my sole 
Executrix, These beinge wittnesses : Wentworth Smyth, 
Elizabeth Lewes and dyu^rs others :/ 

Probatum fuit huiusmodi testametitum coram Thoma Creake 
legu)u doctore Surrogate &c Vicesimo die mens/j 
Julij Anno Dovtini 1605 iuramento Alice Reh'c/e et 
executoris Cui &c de bene &c Ac de pleno &c necnon 
de vero &c Jure &c Saluo iure &c :/ 

From this we learn, in addition to the time of Haughton's 
death, that he was married and had children, that his wife's 
name was Alice, and that he was of the parish of Allhallows 
Staining in London.^ Unfortunately the parish register of 
Allhallows Staining does not begin until 1642, and other rec- 

* The history of the parish has been written by the Rev. A. Povah, 
Annals of the Parish of St. Olave, Hart St., and Allhallows Staining, 
London, 1894. It is distressing to think how much we might know about 
Haughton if only the parish records that once existed were extant. ' The 
heading of the earliest surviving Register, 24th June, 1642, is "Christnings 
continued from the former parchement booke wci> ended with. ..." That 
there was a former parchment Register is proved by the following entry 
amongst Inventory of Goods belonging to Allhallows' parish in church- 
wardens' book, " I7tli October 1585, One Booke wherin is written all 
weddings, christnings & burings, and another smale Jornalle to write in 
again, and a gretter booke comonly cauled a lidger of p[ar]chment ". This 
entry of 1585 shows an ample equipment of books for the purposes of 
registration, viz., a waste book for rough entries, a journal into which to 
post the rough entries under their proper headings of Baptisms, Marriages 
or Burials (these two were paper books), and, finally, the parchment 
Register.' (Povah, p. 334). 



ords of the parish, so far as they are accessible in print, contain 
no allusion to the dramatist. The signature of Wentworth 
Smith as one of the witnesses to the will throws a pleasant light 
on the friendly relations that must have existed between the 
two former collaborators. Elizabeth Lewes, the other wit- 
ness whose name appears in the document, is unknown,^ and 
even imagination cannot supply the identity of the " dyuers 
others ". 

In the course of his researches at the Record Office Pro- 
fessor Wallace has turned up a number of references to Wil- 
liam Haughtons and forwarded them to me. While most of 
them, he is as fully convinced as I, have no connection with 
the dramatist, one or two may be quoted here as possibilities. 
Strangely enough, in the Lay Subsidies 146/396, assessment 
of Langbourne ward, London, no Haughton appears in x\ll- 
hallows Staining or in any other parish. In neighboring par- 
ishes, however, the name is of rather frequent occurrence. In 
146/393, assessment of Aldersgate ward, St. Botolph's parish, 
the second of the three subsidies lately granted by Parliament 
in 39 Eliz., dated i Oct. 41 Eliz. (1599) occurs the entry: 

Wm Houghton iijli . viijs 

This may be the dramatist. The amount is the same as for 
many others in this and other parishes. In the same list, the 
twenty-fourth name below, the entry is repeated; and Dr. 
Wallace notes, " I have not elsewhere seen a name duplicated 
in any list." There were also other Haughtons in the parish. 
The ninth entry below the one last mentioned is for a " John 
Houghton coppersmithe." Since Haughtons with various 
Christian names are found in parishes all around Allhallows 
Staining, the absence of the name from the subsidies from this 
parish where the dramatist died seems rather significant. Per- 

1 Perhaps Haughton's wife was a Lewes ; in this case Elizabeth might 
be his sister-in-law. 



haps he did not reside there until shortly before his death. 
If so, there is even greater possibility that the record from 
the subsidies just quoted refers to the dramatist. 

From September 1602, when his name last appears in the 
Diary, Haughton is lost sight of until his death. It should be 
remembered that Henslowe's accounts for his expenditures on 
behalf of the company only continue down to 16 March 
1602/3 ; and Haughton may have continued his connection with 
the stage until he died. The probability is that he did so. 
This, however, is a chapter of his career that must remain 


Englishmen for My Money — Date — Entries in Henslowe's Diary — Editions 
— Title and Plot — Sources: Usurer Motive, National Element, Minor 
Features — Character of Pisaro — Other Qiaracters — The First Comedy 
of London Life — 'Relation to the L^surer Play — Popularity — Allusions — 

Haughton's dramatic career begins somewhat auspiciously 
with the excellent comedy, Englishmen for My Money, or A 
Woman Will Have Her Will, his only unaided play that has 
come down to us. In the elaborate system of accounts which 
Henslowe began towards the close of 1597 the first dramatist 
whom he mentions specifically by name is William Haughton. 
The entry, which is quoted at the beginning of this introduc- 
tion, is dated 5 November 1597, and records the loan of ten 
shillings " to by a boocke of yonge horton for the company " 
(F. 2)7) -^ The reference here is rather vague, and since no 
title is mentioned, it is not certain to what play the entry 
refers. Its form would indicate an old play, but, as Mr. Greg 

1 No connection is known between the dramatist and Robert Haughton, 
the actor, who is mentioned in the Shakespeare Jahrbueh, XLVHI (1912), 
109, and Malone Soc. Coll., I (1911), 385- 

2 This entry was crossed off when later transferred to F. 43^ (Cf. Greg, 
H, 81). 


says, " the sum paid is so small that it seems likely that it was 
really in earnest of his Woman will have her Will." ^ This 
play is specifically mentioned in the next entry relating to 
Haughton : 

lent vnto Robarte shawe the 18 of febreary 1598 ^ 

to pave vnto barton for a comodey called a v xx^ 

womon will have her willc the some of 2 J 

and in the undated entry which occurs between the 2 and 9 
May 1598: 

Lente vnto dowton to paye vnto horton ") 

in pte of payemente of his boocke called C xx^ 

a womon will haue her wille ^ j 

These are the only entries in the Diary relating to Englishmen 
for My Money and the sum total of the amounts paid, includ- 
ing the ten-shilling payment, is only £2, los. This can hardly 
be the full price of the play. If it is not, there must have 
been payments not recorded in the Diary, for which conse- 
quently there is no record. That the play was completed, the 
extant editions leave no room for doubt. 

In the Stationers' Register under date of 3 August 1601 
there occurs the entry: " Entred for his copie vnder the hand 
of master Seton A comedy of A woman W^ill haue her Will 
. . . vjd." Besides the entry stands the name "William white." * 
There is, however, no edition, as is sometimes erroneously 
said, belonging to the }Tar 1601. The first quarto known to 
have been published was that issued by this William White 
in 1616 with the title "English-men For my ]\Ioney: or, A 
pleasant Comedy, called, A \\^oman will haue her Will." Ten 
years later, 1626, a second quarto was issued by I. N., i. e. 

1 Diary, II, 188. '^ Diary, F. 44^ (Greg, I, 84). 

^ Diary, F. 45V (Greg, I, 86). 
* Arber, Transcript, III, 190. 


John Norton II, with the same title; and in 1631 a third 
quarto was pubhshed by "A. AI. [/. c, Augustine Matthews] 
and are to be sold by Richard Thrale." In this edition the 
title-page has been altered to read " A Pleasant Comedie 
Called, A Woman will haue her Will. As it hath beene 
diverse times Acted with great applause." ^ The relation of 
these editions to one another will be discussed below." It will 
be sufficient to note here that it is somewhat difficult to 
account for successive editions by William \Miite, John 
Norton II, and Augustine Matthews. No transfer of the 
rights of the play is recorded and our knowledge of the three 
printers named does not suffice to explain wuth certainty how 
these rights passed from one to the other. The question is 
only of bibliographical interest and the evidence at hand will 
be brought forward in its proper place. \\''e may leave the 
matter for the present while noting that the three extant 
editions are almost certainly the only ones ever published. 

None of these editions of the play bears on its title-page 
any evidence of the authorship, but fortunately the evidence 
of the entries in Henslowe's Diary points so obviously to this 
play that no one has ever doubted Haughton's authorship of 
it. These entries, too, fix for us rather accurately the date of 
writing as the first few months of 1598, possibly also the 
end of 1597. So far as is known the text of the first quarto, 
though it was not printed till 161 6, represents the play as it 
was originally written ; at all events there is nothing to con* 
tradict this belief. True, in Act I, Scene II (lines 31011), 
Frisco, the clown speaks of " the Kings English " and this, 
it has been said at various times, suggests some sort of re- 
vision. Mr. Greg, who has most recently repeated the state- 
ment, notes that it may be only a change introduced by the 

^ This statement appears also on Qj. 
- See p. 92. 



printer. Even this explanation, however, is unnecessar>\ 
" The King's English " was a stereotyped expression familiar 
in the reign of the Queen as well as in the times of her mascu- 
line predecessors or successors. It is used by Wilson in his 
Arte of Rhctoriquc ^ (1560 and all later editions) and, what is 
still more interesting, in the very- year of Haughton's play 
(1598) it is used by Shakespeare in his Merry Wives (I, iv. 6) 
where the phrase occurs, " abusing of God's patience and the 
King's English." The latter instance is alone sufficient to es- 
tablish the currency of the phrase in Elizabeth's reign " and to 
make pointless any argument of revision in Englishmen for My 
Money based on the evidence of this phrase.^ A much more 
certain instance of revision, or rather alteration, is that in the 
1626 edition which concerns the repression or modification of 
oaths and other forceful, but irreverent, expletives. Where 
the 1616 edition prints " sbloud I will", " Swounds ", 
" Sbloud " (247, 690, 1030), the 1626 and 1631 quartos print 
" that I will ", " Come " and " what ". One would be tempted, 
from these changes, to infer that the statute against profanity 
had recently been reaffirmed, perhaps upon the accession of the 
new monarch. In other instances in the play, however, the ex- 
pressions remain unaltered and the changes seem to have been 

^ " . . . yet these fine English clerkes will say, they speake in their mother 
tongue, if a man should charge them for counterfeiting the Kings English." 
(Ed. G. H. Mair, Oxford, 1909, p. 162.) 

' The only early occurrence of the phrase ' the Queen's English ' that I 

have found is in Xashe : " but still he must be running on the letter, 

and abusing the Queenes English without pittie or mercie." {Strange 
Newes of the Intercepting Certaine Letters, 1592. " To the Gentlemen 
Readers," JVorks ed. jMcKerrow, I, 261.) 

3 I cannot see anything in Englishmen for My Money to support the 
statement of Mr. R. Bayne (Canib. Hist, of Eng. Lit., V, 367) that, ' This 
plaj^ in its general style, savours so fully of the seventeenth century that 
we are inclined to wonder whether any revision of it took place before 
1616, the date of the first extant edition.' It has all the marks of a play 
written before 1600. 


made merely sporadically. Apart from these few unimport- 
ant alterations made in the 1626 edition, the text as we have it 
shows no evidence of revision and represents probably as ac- 
curately as the average Elizabethan quarto, the play as the 
author wrote it. 

The first title of the play is not altogether descriptive of 
its contents. Englishmen for My Money was one form of a 
familiar colloquial expression that appears in such variations 
as " London for IMy Money ", " Yorke, Yorke, for my monie " 
or " Good Ale for My ]\Ioney." ^ It occurs elsewhere in 
Elizabethan drama. — for example, in Heywood's 2 If You 
Know Not Me (I, i), in a passage that perhaps is reminiscent 
of Haughton's play.^ The second part of the title was still 
more common and was a well known Elizabethan proverb. 
" Women must have their wills while they live, because tliey 
make none when they die " was one of those saws, as Hazlitt 
tells us, " which legal changes have deprived of their truth and 
application." " The proverb was recorded by Manningham 
in his diary * in 1602, the year after Haughton's play was 
entered on the Stationers' Register. In addition, the saying 
lecommended itself particularly to the Elizabethan wit by its 
punning use of the word * will '. As Sir Sidney Lee notes, the 
word ' will ', in addition to its general sense of volition, was a 
synonym " alike for * self will ' or ' stubbornness ' . . . and for 
' lust ', or ' sensual passion.' It also did occasional duty for 
its own diminutive ' wish ', for ' caprice '." ^ In all these 
senses is the expression applicable to Englishmen for My 

1 See Ballad Soc, V, 411 ; Roxburgh Ballads, Lond., 1873, p. i. 
- See below p. 44. 

"W. Carew Hazlitt, English Proverbs and Proverbial Phrases, Lond., 
1907, p. 549. 

■•Ed. Camden Sac., vol. 99, p. 92. 

^Life of Shakespeare, 1916, p. 690; cf. also pp. 691-8. 


Money. Elsewhere, too, the saying is found rather frequently 
in Elizabethan drama in the same or slightly different words. 
As early as Ralph Roister Doistcr the " Second Song " runs : 

Whoso to marry a minion wife, 

Hath had good chance and hap, 
Must love her and cherish her all his Hfe, 

And dandle her in his lap. 

If she will fare well, if she will go gay, 

A good husband ever still, 
Whatever she lust to do, or to say. 

Must let her have her own will.^ 

In Porter's Tivo Angry Women of Abington (Scene I, line 
III), Master Barnes says to his wnfe, " Go to, youle have your 
will"; and in Lyly's Maid's Metamorphosis (II, i) there oc- 
curs the line : " Juno's a woman, and will haue her will." So 
frequently does the phrase occur that we must be wary of 
supposing that such occurrences are, as Fleay claimed of the 
last," allusions to Englishmen for My Money. One or two 
cases there are which may conceivably be allusions to Haugh- 
ton's play; and these will be noted in their proper connection. 
It will suffice here to observe the familiar or proverbial char- 
acter of the expressions chosen by Haughton, and the popular 
appeal which they would make to an Elizabethan audience. 

The plot of Englishmen for My Money is easily told. 
Pisaro, a rich Portuguese merchant, has come to England, 
married, and settled in London where he plies his " sweet 
loved trade of usury." He is the father of three lively daugh- 
ters. Laurentia, Marina, and Mathea, whom he wishes to 
marry against their wills to three wealthy foreigners, — a 
Dutchman, a Frenchman and an Italian respectively. The 
daughters love, and are loved by, three English youths, Heig- 

1 Ed. C. G. Child, Boston, 1912, p. 153. 
~ Shakespeariana, IV, 551. 



ham, Harvey, and \\''algrave; but these unfortunately have 
been rather thriftless and have got into the clutches of Pisaro, 
have pawned their lands to him and by him are being swindled. 
Incidentally they hope, by a marriage with his daughters, to 
cancel their debts and get their property back again. This, 
to be sure, is not easily done and requires much trickery be- 
fore it is accomplished. But finally, aided by the concerted 
scheming of the girls and their intriguing schoolmaster, x\n- 
thony, the English youths outwit the usurious father and 
marry his daughters, while the three foreign lovers are left in 
the lurch. When Pisaro learns that for once in his life he has 
been overreached, he makes the best of things, accepts his new 
sons-in-law, and is so far reconciled as to say as the play ends : 

I see that still, 
Do what we can, Women will have their Will. 

Come, let us in; for all the storms are past 
And heaps of joy will follow on as fast. 

The haste with which the average Elizabethan dramatist 
produced plays left little time for him to invent his plots. In 
most cases he took his material from any source that was con- 
veniently at hand and there is an a priori probability in the 
case of any Elizabethan play that the plot is not original. Con- 
sequently we should be justified in expecting to find a source for 
Englishmen for My Money, or at least something capable of 
furnishing the suggestion for its plot. Yet a rather extended 
search has failed to reveal anything that can be considered a 
direct source of Plaughton's inspiration. The play is clearly 
a compound of more or less familiar situations and char- 
acters. And yet these situations are combined so organically 
and the characters are woven into the scheme of the plot so 
completely that one is scarcely prepared to believe that so in- 
genious a combination is an original product of the author's 


imagination. Upon analysis it is possible to distingush four 
situations, all of them to be met with individually in other 
places. Two of these might be called major elements, the 
other two, minor elements of the story. We may call the first 
two the usurer, and the national motives respectively; these 
form the basis of the play. The latter two we may designate 
the basket story and the motive of disguise ; these are elements 
of less importance, but essential to the development of the 

The usurer motive is the most important in the plot of the 
play and is the basis of the action. The theme is as old as the 
]\Iiddle Ages and in its most general form may be stated as 
follows : The victim of a usurer contrives to marry the usurer's 
daughter and thus regain his money or property. Sometimes 
it is the widow of the usurer whom the victim marries as in 
Excmplnm No. 173 of Jacques de Vitry: "A Knight whose 
property had been absorbed by a usurer was reduced to the 
greatest straits and thrown into prison. The usurer died, and 
the Knight contracted a marriage with his widow, and not 
only recovered his own property, but all that the usurer had 
possessed." ^ The motive is used in several Elizabethan plays 
later than Haughton's and is allied to the Jessica-Lorenzo story 
in the Merchant of Venice. In its fully developed form, how- 
ever, it is not found anywhere in Elizabethan drama before 
Englishmen for My Money,^ nor does it seem to occur in 

1 Crane, T. F., Tlie Excmpla of Jacques de Fitry, London (Folk Lore 
Soc), 1890, p. 205. 

2 In the Jczu of Malta the daughter of Barabas enters a monaster j\ In 
the Jessica-Lorenzo story Lorenzo is not a prodigal and has not borrowed 
from Shylock. A Knack to Know an Honest Man and IVily Beguiled 
approach more nearly to the fully developed motive, but fail to achieve it. 
In IVily Beguiled the usurer, Gripe, attempts to marry his only daughter 
for money to a common fellow while she loves a poor scholar ; here the 
resemblance to Englishmen for My Money ends. We have simply the 
famihar plot of the girl forced to marry against her choice; in this case 
the girl's father happens to be a usurer. Cf. also the article by Stonex 
cited below. 



either of those fruitful sources of Elizabethan dramatic ma- 
terial, the Italian novella and the Italian drama. Air. A. C. 
Lee, whose excellent book on the sources and analogues of the 
Decameron is an invaluable storehouse of story material, writes 
me : "I cannot call to mind any Italian ' novella ' bearing on 
the subject although it is very possible there may be one. I am 
inclined, however, to think that the source may rather be found 
in some Italian play . . . than a ' novella ', although I cannot 
fix it on any one." Prof. Toldo, of the University of Bologna, 
the eminent specialist on the sixteenth-century Italian comedy, 
knows of no Italian play containing the motive.^ The theme 
that is coupled with this story of the usurer, the attempt of a 
mercenary father to marry his daughter for wealth against 
her inclination, is a very common one. It is the basis of the 
usurer play, Wily Beguiled, the nearest approach to the plot of 
Haughton's play that is to be found before 1598, but at best 
the resemblance is slight. Thus the characteristic usurer plot, 
the theme of the trapper trapped, which is the central motive 
of Englishmen for My Money and is here employed in a 
triple manner, is, notwithstanding the fact that it goes back 
to the twelfth century, apparently first found fully developed 
in Elizabethan drama in Haughton's play. 

A second element of the plot, which is made to coincide 
with this first motive, is what we have called the national 
element. The three suitors whom Pisaro has chosen as the 
future husbands of his three daughters are foreigners — 
' strangers ', to use the Elizabethan word so frequently em- 
ployed in the play — a Dutchman, a Frenchman and an Italian 
respectively. The lovers who are the choice of the girls are, 
however, English; and the success of the plot depends upon 
the triumph of the English lovers over the foreigners, and the 

^ This I learn through the courtesy of Prof. Ernesto Monaci of the 
University of Rome and my friend Dr. Vincenzo Di Santo. 



attendant patriotic appeal. This preference of an English 
lover to a ' stranger ' is found elsewhere, as would be expected. 
There is a ballad mentioned by Hazlitt^ called 'The Coy Cook- 
Maid, who was courted importunely by Irish, Welsh, Span- 
ish, French, and Dutch, but at last was conquered by a poor 
English Taylor " ; and in the Roxburgh Ballads (1873, p. 100) 
there is one called Blezv Cap for mc, which tells the story of a 
Scotch lass wooed in Part I by an Englishman, a Welshman, a 
Frenchman and an Irishman, in Part II by a Spaniard, a Ger- 
man, and a Netherlander, but who at last welcomed a Scotch- 
man. This form of patriotic appeal was a familiar one, and 
its appearance in Englishmen for My Money, though import- 
ant, needs perhaps no explanation or * source '. 

The two features of the plot which have been mentioned 
above as ' minor ' elements concern details of the story which 
have not as yet been mentioned. In the fourth act of the play 
Vandalle, the Dutchman, comes to Pisaro's house by night, 
hoping to gain access to Laurentia, the daughter of Pisaro 
intended for him, by assuming the disguise of her English 
lover. His broken English, however, instantly betrays him, 
and the daughters, when they have once seen through his trick, 
determine to teach him a lesson. While one holds him off 
by conversation, the others procure a large basket. This 
Laurentia lets down for him to enter and be pulled up to her 
window, telling him that in no other way can he come to her 
without waking her father. Unsuspecting, he enters the bas- 
ket and is pulled part way up. When the basket reaches a 
point midway between the ground and Laurentia's window, 
the girls cease pulling and he is left suspended foolishly in 
the air until the following morning w'hen he is discovered, to 
his great confusion, by the other characters, and let down. 

This situation, which is conveniently called the basket-story, 

1 Handbook, p. 376. 



is an old and widely known motive. Mr. Greg calls attention ^ 
to its occurrence in a novella of Pietro Fortini ; " but there 
are many more common occurrences of the story than in this 
Italian novdhcrc whose novels remained in manuscript until 
the eighteenth century. The most famous of all its occur- 
rences is in that body of popular legend that grew up surround- 
ing Virgil in the Middle Ages. Space does not permit a mention 
here of the many places in which the story is told of Virgil's 
love of a gentlewoman and " Howe the gentylwoman pulled 
uppe Virgilius, and howe she let hym hange in the basket when 
he was halfe way up to hyr wyndowe, and how the people 
wondered and mocked hym," and of the terrible revenge which 
Virgil took upon the gentlewoman. The stor)^ appears, 
among many other places,^ in English in the prose romance of 
Virgilus, from which the few lines just quoted have been taken.* 
which was printed in Antwerp c. 1518 (?) and again in Eng- 
land c. 1561 (?), perhaps by William Copland."' A similar 
story was told of Hypocritas and later of Boccaccio." In the 
Elizabethan age the trick must have been a rather familiar one 
for it is used or alluded to in a number of places. In the prose 
romance of Friar Rush ' the priest is caught in a basket hung 

1 Malone Soc. Reprint of Eiiglisliineit for My Money, [1913 for] 1912, 
p. vii. 

2 ' Un pedante credendosi andare a giacere con una gentildonna, si lega 
nel mezzo perche ella lo tiri su per una finestra; resta appiccato a mezza 
via: di poi messolo in terra, con sassi e randelli gli fu data la corsa.' 
Novelle di Autori Sencsi, vol. I., Milano, 1815, p. 252. The novel is No. 5 
in this reprint. 

3 The fullest list of references, though it is by no means complete, is 
to be found in Comparetti, D., J'crgil in the Middle Ages, tr. E. F. M. 
Benecke, Lond., 1895, PP- 3^ ff- 

*The romance is reprinted in Thorns' Early English Prose Roviances, 
new ed., London, n. d. The basket incident is found on pp. 219 fF. 

' Esdaile, A., English Talcs & Prose Romances, Part I (1912), p. 136. 

• Cf . Lee, A. C, The Decameron, Its Sources and Analogues, Lond., 
1909, pp. 259-60. 'See Thoms, as above, pp. 436-7. 


by a rope outside a window. In Chapman's The Widow's 
Tcarcs (I, i) Lysander says to Tharsalia : '' But if this deity 
should draw you up in a basket to your countess's window, and 
there let you hang for all the wits in the town to shoot at ; how 
then? " The JJ'idozv's Tears belongs to the year 1605 and the 
allusion may perhaps be to Haughton's play; this possibility, 
however, should not be pressed too far. Even Jonson alludes 
(reprehensively) in his Discoveries to the device of pulling the 
philosopher up in a basket to make the spectators of a comedy 
laugh: The multitude " love nothing that is right and proper. 
The farther it runs from reason or possibility with them the 
better it is. What could have made them laugh, like to see 
Socrates presented, that example of all good life, honesty, and 
virtue, to have him hoisted up with a pulley, and there play the 
philosopher in a basket." ^ We need not pursue further the 
track of this amusing device.^ The frequency with which it is 
alluded to is sufficient to show how well known it was and to 
make pointless any attempt to fix with definiteness the source 
from which Haughton derived it. 

The last element of the plot which we have distinguished 
scarcely calls for consideration. It is the familiar device of 
the disguise in which the man dresses in woman's clothes and 
the woman masquerades in the garb of a man. In the last 
act Walgrave gains access to Mathea by disguising himself 

' Timber or Discoveries, ed. Schelling. F. E., Boston, 1892, pp. 82-3. 
The allusion is to the Clouds of Aristophanes in which Socrates is at one 
point suspended in the air. Cf. the edition by W. J. M. Starkie, London, 
191 1, pp. 57 ff. It is interesting to note, while speaking of the Clouds, 
that at line 240 Strepsiades says, " For, thanks to usury and usurers most 
curst, I'm spoiled and undone, and my property is- distrained," (p. 65). 

'^ It is not necessary to enter here into the possible connection of this 
motive with Chaucer's Miller's Tale or to notice later occurrences of it. 
It is found in a piece called " Li vecchi scherniti," acted in Paris 31 Dec. 
1733 (Stoppato, L., La Commedia Popolare, 1887, pp. 90-91) and is still 
met with to-day, as, for example, in Strauss's opera, Feuersnot. 


as ]\Iaster Moore's daughter, and Laurentia escapes to Ferdin- 
and in the guise of Anthony, her schoohnaster. The device is 
such a famihar one ^ that, as with the trick of the basket, dis- 
cussion of its source would be purposeless. It may be noted, 
however, that the disguise motive as here employed is not so 
artificial as it is usually thought, — thanks to the fashions of 
Elizabethan dress. The garb of men and women in the Eliza- 
bethan age was not always so dissimilar as it is to-day and the 
difficulty of distinguishing the one from the other was at times 
very real. In this connection will be remembered the words of 
Harrison when he speaks of the excesses of Elizabethan dress : 
" I have met with some of these trulls in London so disguised 
that it hath passed my skill to discern whether they were men 
or women." " 

From the brief discussion of the plot of Englishmen for 
My Money it will be seen that there is in this feature of the play 
nothing strikingly original. Except in the main action of the 
victim's outwitting the usurer and retrieving his fortune by 
marrying the usurer's daughter, Haughton shows little advance 
over his predecessors. Here, indeed, he shows real creative 
ability in plot construction and development. But in general 
his merit lies chiefly in the skill with which he weaves together 
into an organic whole a variety of motives and comic situations 
and in his ability to employ in the most effective way possible 
elements which in themselves might easily remain common- 

The character of Pisaro is the most interesting in the play. 
He is not what one can quite call a pleasant character, yet he 
is far from repellent. He is a usurer and therefore fore- 
doomed to dislike ; yet, easy as it is for an author to make such 

^ On the general subject see Freeburg, V. O., Disguise Plots in Eliza-' 
bethan Drama, New York, 191 5. 
^ Elizabethan England, Camelot Series, p. no. 



a figure a scoundrel or a monster, Pisaro is neither. He calls 
himself a merchant and his worst qualities are to a certain ex- 
tent excused by the fact that he is a Portuguese. These quali- 
ties are merely the characteristic vices of Elizabethan usurers 
in general, as they are represented in the writings of the day. 
Lodge, in his Alarum against Usurers, speaks of those " Mer- 
chants, who though to publyke commoditie they bring in store 
of wealth from forrein nations, yet such are their domestricall 
practises, that not onely they inrich themselves mightelye by 
others misfortunes, but also eate our English gentrie out of 
house and home." ^ This description fits completely the char- 
acter of Pisaro. Not only does Pisaro charge " two and 
twenty in the hundred, When the Law gives but ten " (2322- 
3) ; he is also guilty of other tricks of extortion. In the 
pamphlet just quoted, Lodge refers to the practice of the usurer 
or usurer's broker lending the gallant " fortie or fiftie poundes 
of course commoditie, making him beleeve that by other 
meanes monie maye not be had ..." The gallant, wishing 
to convert it into money, gets the broker to sell it for him, 
and "if it be fortie, the youth hath a good peni worth if in 
ready money he receive twentie pound ..." The broker or 
go-between, he explains, " in this matter getteth double fee of 
the Gentlemen, trible gaine in the sale of the commoditie, 
and more, a thousand thankes of this devillish L^surer." - 
Pisaro, as we see early in the play, deals in cloth and is no 
doubt guilty of the practice that Lodge scourges. Pisaro 
is a type and has most of the characteristics of the usurer 
type. But he is not only a type; he is distinctly individu- 
alized. He is not a personification of trickery and deceit; 
he is not wholly bad. \Mien we think of the characters of 
Nicholas Breton in The Good and The Bad (1616), the one A 

1 Shakespeare Society, vol. 49 (1853), p. 43. 
- Ibid., p. 46. 


Worthy Merchant (24), and the other An Usurer (32), we 
find almost more that fits him in the former than the latter.^ 
Pisaro, usurer that he is, has redeeming quahties that show us 
the human side of the man. He thinks in one or two places of 
his dead wife and speaks of her in touching terms. So 
thoroughly humanized is the character that when he hears of 
the loss of his ship at sea, much as we object to his usurious 
practices, we find ourselves unconsciously sympathizing with 
him in his grief. In comparison with the stock character of 
the usurer in so many other Elizabethan plays, Pisaro in 
Englishmefi for My Money is a living human being who re- 
mains in our memories as a real personality. 

The other characters in the play are in most cases equally 
well drawn. The three English lovers are distinguished and 
individualized with care. Walgrave, in the words of his 
friend, is *' a rash and giddie headed youth ", a " mad-man, mad 
cap, wild-oates". Harvey is more moderate in his demeanor, 
though merry withal, and Heigham is obviously the most quiet 
of the three. The three daughters are likewise well distin- 
guished. Mathea, the youngest, is " scant folded in the dozens 
at most ", but claims she is " three yeares mo ". Marina and 
Laurentia are older and correspond more closely in character 
with their lovers, Harvey and Heigham. The three foreigners 
are admirably distinguished. Each speaks his special kind of 
broken English and possesses characteristics supposedly typical 
of his race." Delion, the Frenchman, is proud, forward, and 
arrogant; Alvaro, the Italian, is more amorous and "can tell 
Of Lady Venus, and her Sonne blind Cupid "; and Vandalle, 

^ Cf. Works of Nicholas Breton, ed. Grosart, 1879, vol. II. 

2 The play is not treated in E. Panning, Dialcktisclics Englisch in Elisa- 
bethanischen Dramen, Halle Diss., Halle, 1884. Cf., however, Eckhardt, 
E., Die Dialckt- und Ausldndcrtypcn dcs iiltcrcn Englischcn Dramas. 
Teil II: Die Ansliindcrtypcn. Matcrialicn zur Kuiidc, XXXII, 1911, 



the Dutchman, though devoted in his bUnidering way, is un- 
romantic and, in his conversation on the price of cloth in Ant- 
werp, a bit dull to his " sout Lady ". Finally, the characters 
of Frisco the clown, and Anthony, the intriguing schoolmaster, 
are among the most lifelike and interesting persons in the play. 
In his secondary personages, no less than in the figure of 
Pisaro, Haughton showed his ability to portray character 
clearly and distinctly. 

Englishmen for My Money is a realistic comedy of London 
life. In the opening speech of the play Pisaro tells us that 
since his wife's decease, " in London [he has] dwelt ", and a 
little later (11. 233-4) there is mention of " Croched-Fryers 
where old Pisaro, and his Daughters dwell." In the course of 
the comedy we pass over Tower-hill, converse in Leadenhall 
Street where we are reminded of its water standard with four 
spouts, walk through Fanchurch Street, and pause at " the 
farthest end of Shoreditch " where the ]\Iaypole stands " on 
Ivy-bridge, going to Westminster ". We witness departures 
for Bucklersbury and the Rose in Barking, hear Bow-bell ring, 
and catch frequent mention of well known streets and objects 
about the city : Cornhill and Canning Street, Cheapside Cross 
and Bridewell. The instant appeal of familiarity which al- 
lusions such as these had, must have been singularly effective 
in bringing the play close to every Londoner who witnessed it. 
The scenes depicted are those of the everyday middle-class life 
of the metropolis and the play thus belongs to that type of 
drama which has been happily called the " citizens' drama ". 
Of the two branches of this citizens' drama, portraying respec- 
tively rural life and London life, " the latter [was] by far the 
most popular, dependent as it was upon local color and typical 
allusion, the success of which lay in its familiarity to the audi- 
tor." ^ Consequently the type when once attempted was in- 

1 Schelling, F. E., English Drama, 1914, p. 107. 



stantly imitated and the number of plays of this class, written 
from 1598 on, is very large. 

In the development of this realistic drama of everyday 
London life the importance of Haughton has seldom been fully 
appreciated. The treatment of everyday life on the stage is 
of course as old as the morality itself. In like manner the 
daily life of a small town or rural community, had been 
the subject of a number of plays by the year 1597-8, — Wily 
Beguiled, Two Angry Women of Ahington and The Merry 
Wives of Windsor, to mention only notable examples. But 
the idea of writing a play solely on so familiar a subject as 
the daily life of the people in London seems to have occurred 
to no one before this date. London had been the scene of 
occasional chronicle plays or parts of chronicle plays, but, 
though such scenes may have suggested the very natural tran- 
sition from the everyday life of a rural community to the 
everyday life of the capital, the chronicle play is in general 
far removed from the spirit of the comedy of London life. 
It apparently remained for Haughton to show for the first time 
the full possibilities that lay ready to hand in the familiar 
city life about him. Most of the action takes place in the im- 
mediate neighborhood of the parish in which he was living 
just before his death. Consequently, what he did was not 
merely to write about London, but to write his own neighbor- 
hood into a play. His Englishmen for My Money is, so far as 
we can tell, the first regular comedy of realistic London life 
in the English drama. To be the inaugurator of a type of 
drama destined to become so fruitful and so popular as the 
comedy of London life became in the hands of his imitators 
and successors, is to have achieved a position beside the great 
leaders of dramatic modes in Elizabethan drama, Lyly, Jonson, 
Beaumont and Fletcher. The new mode pointed out by 
Englishmen for My Money became instantly popular and was, 



as said above, immediately imitated. One of the most notable 
plays of the kind, The Shoemakers' Holiday, owes its origin 
in all probability to the success of Haughton's play.^ Many 
others followed, too numerous to mention - and the realistic 
comedy of London life enjoyed a continued popularity for al- 
most twenty years and, in the case of some plays, down to the 
very end of the Elizabethan period. Only once has Haughton 
been given the credit he deserves for this contribution to Eng- 
lish drama. Professor Gayley, after noticing the points of 
similarity between Englishmen for My Money, Patient Grissel 
and The Shoemakers' Holiday, concludes : " But the fact re- 
mains that in these features Haughton's A Woman Will Have 
her Will anticipates the realistic comedies of Dekker. It also 
anticipates the portrayal of London life afforded by Jonson's 
Every Man in his Humour; and is of as early a date as Porter's 
Tzco Angry Women. It is probably the earliest extant effort to 
transfer to London the comic realism of Shakespeare's Merry 
JJlz'es of Windsor." ^ Haughton's importance as the success- 
ful originator of the comedy of London life is thus deserving 
of the fullest recognition. 

Englishmen for My Money is also of the first importance 
in the development of the usurer play. The usurer play is a 
drama in which the action turns upon the successful attempt of 
the chief characters to outwit a usurious money lender. One 
of the most frequent devices employed is that which forms the 
main action of Englishmeri for My Money, — the situation of 

1 The Slioemakcrs' Holiday is first mentioned 15 July 1598. Concerning 
this date of the play, Miss Hunt {Thomas Dekker, p. SJn) says: "There 
seems to be no reason for dating the play earlier than its entry in the 
Diary. Fleay's date, 1597, has nothing to support it. Deloney's Gentle 
Craft, though entered S.R. October 19, 1597, does not seem to have been 
printed before 1598." 

~ On the type, see Professor Schelling's Elizabethan Drama, Vol. I, 
Ch. XI. 

3 Rep. Eng. Com., vol. II, Intro., p. xxx. 



the rebellious daughter, prodigal, and usurer. While Haugh- 
ton was not the inventor of this situation, he carried it a step 
further than it had been carried before ^ and was the first to 
present it in its fully developed form in Elizabethan drama. 
But a situation or plot once successful was sure to be copied 
and imitated ; and from the time EnglisJivicn for My Money 
was produced there appeared a succession of plays having for 
their main or sub-plot the story (often showing individual 
modifications) of a gallant, cozened by a usurer, and succeed- 
ing in recovering his wealth by marrying the usurer's daughter 
or relative. It forms the sub-plot involving Moll, daughter of 
the usurer. Berry, in the Fair Maid of the Exchange (1602) 
and furnishes the main or sub-action of Michaclnias Tcnii 
(1604), A Trick to Catch the Old One (1606), Greene's Tn 
Quoque (1609-12), No Wit No Help Like A Woman's 
(1613), The Hog Hath Lost His Pearl (161 3), .4 Match At 
Midnight (1623), The Constant Maid (1638 ?). and other 
plays still later, to say nothing of variations such as in A 
Nezv Way to Pay Old Debts (before 1626). That three titles 
in this list should be connected with the name of Middleton is 
only one of many evidences of the close connection between 
the work of Haughton and Middleton which we shall discuss 
later. The frequency with which this usurer plot was used by 
others as well, however, and the closeness with which some of 
the plays resemble Englishmen for My Money are indicative 
of the influence of Haughton's comedy in the development of 
the type known as the usurer play." 

1 See above, p. 31. 

■^ The Usurer in Elizabethan Drama has been studied by my friend Prof. 
Arthur B. Stonex, of Trinity College, Connecticut, and for a detailed dis- 
cussion of the plays and question treated in this paragraph, the reader is 
referred to his article in Pub. Mod. Lang. Assoc., XXXI (1916), 190-210. 
In this paper forty-five dramas in which the usurer plays an important 
part are discussed. On p. 196 will be found a brief statement of the 
relation of the usurer play to the theme of the prodigal in Elizabethan 


Important as Englishmen for My Money is in relation to 
the usurer play and important as is its place in the comedy of 
London life, it is by no means only because of these historical 
considerations that the play is interesting to-day. Judged by 
absolute standards it is one of the sprightliest comedies that 
we have. Its bustling intrigue and somewhat noisy exuberance 
are, perhaps, its most characteristic qualities. It is true that, 
as has been observed, the characters have no romantic charm 
and the daughters are lacking in refinement both of manners 
and morals.^ But the character of Anthony, the intriguing 
schoolmaster and that of Frisco, the clown, are full of a racy 
naturalness that sorts well with the rest of the play and is itself 
not without a certain attractiveness. When we remember, in 
addition, the amusing nature of the plot with its " unforced 
succession of ludicrous incidents " we are not surprised to 
find that these things which interest us to-day, made the play 
popular in its own day. That it did appeal to its time is evident 
from the circumstances that three contemporary editions were 
issued, to say nothing of the statement on the title-page of the 
last two that it had been " diverse times acted with great 
applause." Its appeal to the groundlings, to civic pride 
and national feeling, not overdone; its ridicule of the 
foreigners; its outwitting of a character all too hateful 
to Elizabethan Londoners and one whom it greatly pleased 
the audience to see duped; all these things would have 
insured the success of even a less deserving play. As 
it was they merely augmented the interest which was 
already inherent in its lively and spirited portrayal of the 
youth sowing his wild oats, in the love story of the gentleman 
seeking the hand of a citizen's daughter, and in its representa- 
tion of avarice cheated. We can see that the popularity of 
Englishmen for My Money was reasonable and well deserved. 

^ Bayne, R. in the Cambridge Hist, of English Literature, V, 2)^7. 


Allusions to the play are not always easy to fix, because of 
the proverbial character of the title. In two plays, however, 
both of which are probably Heywood's, passages occur which 
are reminiscent not only of the title but of parts of the play 
itself. In the second part of // You Know Not Me You Know 
Nobody (c. 1604?), the Courtesan says (I. i) : 

.... I have tried, ere now, 
The sweaty Spaniard and the carousing Dane, 
The foggy Dutchman, and the fiery French, 
The brisk ItaHan, and indeed what not ; 
And yet of all and all, the EngHshman 
Shall go for me : ay, j-'are the truest lovers. 
The ablest last night, and the truest men 
That breathe beneath the sun. 
John. Why, then, the Englishman for thy money : 1 

In How A Man May Choose A Good IJlfe From A Bad (V, 
i, I ff ) there occurs the following passage : 

Ma[ry]. Not haue my will, yes I will haue my will, 
Shall / not goe abroad but when you please? 
Can I not now and then meete with my friends, 
But at my comming home you will controwle me? 
Marrie come vp. 

Yoiig Ar[flnir]. Where art thou patience? 
Nay rather wheres become my former spleene? 
/ had a wife would not haue vsde me so. 

Ma[ry]. Why you lacke sawce, you Cuckold, you what not, 
What am not / of age sufficient 
To go and come still when my pleasure serues, 
But must I haue you sir to question me? 
Not haue my will? yes I will haue my will. 

y^oug Ar[tliur]. I had a wife would not haue vsde me so, 
But shee is dead. 

Bra[bo]. Not haue her will, sir she shall haue her will, 
She sales she will, and sir / say she shall. 
Not haue her will? that were a /east indeed. 
Who sales she shall not, if I be disposde 
To man her forth, who shall finde fault with it? 

^ Shakcsl>i-are Soc, vol. 46 (1851), 126. 


What's he that dare say black's her eie? 
Though you be married sir, yet you must know 
That she was euer borne to haue her will. 

Splay. Not haue her wil, Gods passion / say still, 
A woman's no bodie that wants her will.i 

These lines remind one strongly of Englishmen for My Money 
and it may not be too daring to suppose that both this and 
the preceding passage could have been suggested by a recol- 
lection of Haughton's play. 

Before leaving the discussion of Englishmen for My Money 
it may be as well here as elswhere to pause for a few words 
concerning Haughton as a craftsman in verse. About two- 
thirds of the play is in blank verse and an exhaustive analysis 
and application of the various verse tests to it justify cer- 
tain generalizations. In the first place, the verse is distinctly 
end-stopped and characterized by masculine endings, although 
feminine endings are sufficiently frequent (i8%) to give 
variety to the rhythm. Again, for the first work of a dramatist 
it is remarkably free from rime.' The percentage of rimed 
lines is about fifteen, and when we remember that Shake- 
speare's first play contains about sixty-six rimed lines in every 
hundred, Haughton's relative freedom in this respect is rather 
noteworthy. The verse is likewise characterized by the almost 
complete absence of weak and light endings. In placing the 
caesura Haughton shows considerable freedom, although a 
preference is observable for a pause after the fourth or sixth 
foot. In the position of the accents within the line and in the 
admission of incomplete lines, Haughton's verse again is de- 
cidedly free. Between speeches in blank verse he frequently 
inserted lines of two or three words, which are outside the 
metrical scheme. Moreover, whenever the blank verse became 

1 Farmer Facsimile Rpt., Sig. I 2. 

- The proportion of rime is also somewhat dependent upon the nature 
of the play. 


at all inconvenient, he had no hesitation in dropping it for 
more simple and rapid prose dialogue. These and other prac- 
tices are evidence that his matter dominated his form. He 
wrote blank verse freely and apparently without difficulty. 
Sometimes, in rapid dialogue, he divided a blank verse line 
among as many as three speakers, even when the final syllable 
of the verse was part of a rime. On the whole, while it cannot 
be said that the verse of Haughton is remarkable for its 
grace or variety, it is in general smooth, sufficiently varied 
to be agreeable, and quite adequate to the demands made 
upon it. 


Resumption of Activitj' — Cox of Collu»iptoii — Tragedy of Thomas Merry 
— Not to be Identified with Two Lamentable Tragedies — No Connection 
with Day's Italian Tragedy or Chettle's Orplians' Tragedy — Fleay Op- 
posed — His Fallacies and Inconsistencies — Contrary Evidence — Con- 
clusion — Arcadian J^irgin — Patient Grissel — Authorship — Haughton's 
Share — Spanish Moor's Tragedy — Connection with Lust's Dominion — 
Seven Wise Masters — Ferrex and Porrex — English Fugitives — Tlie Devil 
and His Dame — Connection with Grim the Collier of Croydon — Strange 
A^eivs out of Poland — Mr. Pett — Judas — Summary of Second Period. 

After an interval of six months from the date of the last 
recorded payment on Englishmen for My Money, Haughton 
began in November 1599 to work with Day on some plays of a 
different kind. The attention of the two dramatists was appar- 
ently attracted at this time by a temporary return to popularity 
of a type of drama which had been made notable some years 
earlier by Arden of Feversham. In this piece the murder play 
had for the time reached its greatest height, but in the last 
few years of the sixteenth century it experienced a new vogue 
which was productive of more activity in the type than had 
been seen at any time before.^ In particular, Dekker had just 
finished, 2 September 1599. a play for the company called 

1 See Schelling, F. E., Elizabethan Drama, I, 345 ff. 


Page of Plymouth, concerned with the murder of one blaster 
Page by his wife; and the success of this play may have been 
the suggestion which prompted Haughton and Day to continue 
the vogue. Probably the first play of the kind which Haugh- 
ton had a hand in was the Tragedy of John Cox of Collumpton, 
or, as it is once called in Henslowe, the " tragedie of cox of 
collinstei" ". From the Diary we learn that it was the work of 
Haughton and Day and was paid for between i and 14 No- 
vember 1599. That it was a murder play is not quite certain, 
but seems likely. Collumpton, now usually spelled Cul- 
lompton, is a small town in Devonshire, not far from Exeter. 
Collier says the play was based on a murder committed 
in that place, and, since the conjecture has a certain 
plausibility, it has been generally accepted by later writers. ^ 
But, so far as I can discover, there is no record of such 
a murder. Recently the statement has been made that the 
play dealt with a " notorious " crime of the day,'^ but no au- 
thority is given and apparently none exists beyond the con- 
jecture of Collier. We must leave the question for the present 
where it is ; if we remember that Collier's view is not supported 
by evidence, we may accept it conditionally since it is in line 
with what we shall see to be Haughton's tendencies in the 
drama. That he was one of the authors of that peculiar type 
of the journalistic drama, the murder play, is apparent from 
his next attempt. 

Scarcely was Cox of Collumpton finished when Haughton 
and Day decided to continue the vein with a tragedy which 
in the Diary, is variously called Beech's Tragedy or the Tragedy 
of Thomas Merry. For this play Henslowe paid them five 

1 Stage, 1831, III, 50. 

2 Halliwell, Diet, of O. E. Plays (i860), p. 68; Hazlitt, Manual of O. E. 
Plays, p. 122; Schelling, F. E., English Drama (1914), p. 114. 

3 Tucker-Brooke, C. F., The Tudor Drama, p. 354. 


pounds (in full) between 21 November and 6 December 1599; 
and it was licensed and probably performed early in 1600. 
Though it is not extant we may be quite certain as to its subject 
matter. On 29 August 1594 there was entered on the 
Stationers' Register "A true discourse of a most cruell and 
barbarous murther committed by one Thomas Merry on the 
persons of Robt. Beech and Thoms [sic] Winchester his 
seruaunt, on the Fridaie night the 23. of August, beinge Bar- 
tlemie Eve, 1594. Together with the order of his arrayne- 
ment and execution . . . " ^ The murder was a notorious one, 
and was described in five other broadsides licensed in rapid 
succession, 29 August, 3, 7 (two) and 9 September." A play 
by Day and Haughton on this subject should cause no sur- 
prise; nor need the circumstance that it was written five years 
after the event treated had occurred seem unusual when it is 
remembered that Ardcn of Fcvcrsham ( 1 586-92 ?) is concerned 
with events that happened in 1551. The piece could be quickly 
dismissed were it not for a discussion in which it has been 
involved by reason of another play. 

In 1 601 was published a play with the title Tzco Lamentable 
Tragedies or Tzvo Tragedies in One,^ the author of which is 
given both on the title-page and at the end as Rob. Yarington. 
This piece is an exceedingly curious production. Its plot, as 
the first title implies, is a double one, consisting of approxi- 
mately alternate scenes from two murders. The one tells " of 
the ]\Iurther of IMaister Beech A Chaundler in Thames-streete, 
and his boye, done by Thomas Merry", an inn-keeper; the 
other " of a Young childe murthered in a Wood by two Ruffins, 

1 Hazlitt, Handbook, p. 390 (§14) ; S. R. (Arber), II, 311b. 

~ Hazlitt, ib. 390. 

3 This second title appears only at tlie head of the text. The play is 
reprinted by Bullen, Old Plays, vol. IV, and reproduced by Farmer in his 
facsimile series. The page references below are to Bullen's edition. 



with the consent of his Vnckle." The two plots are united 
by allegorical personages who comment chorus-wise on the 
action. It is apparent that the first of these two plots is the 
same as that of Haughton and Day's play. The second is a 
version of the Babes in the W^ood story and was traced con- 
jecturally by Bullen to a ballad on the Babes in the Wood which 
was entered on the Stationers' Register in 1595.^ But it is 
hard to believe that any play should have been originally 
written in the form of the Tzvo Tragedies in One. The two 
parts of the plot are wholly unconnected. There is no under- 
plot or even a minor character, common to both, to bind them 
together. They are united only by the allegorical personages 
who contribute prologue and epilogue and intercalary comment 
between the acts. Moreover the two parts differ somewhat in 
style and the play has a certain appearance of being made by 
the combination of two separate plays. When this was per- 
ceived it was but natural that students should speculate upon 
the identity of the earlier works. And here the circumstance 
that Day and Haughton were at work on a non-extant play of 
Thomas Merry a year or more before the Tzvo Lamentable 
Tragedies was printed made it easy to jump to conclusions. 

Apparently the first to suggest that the Merry part of the 
Two Tragedies in One and the Tragedy of Merry were identi- 
cal was Collier." In 1881 BuIIen mentioned Collier's sugges- 
tion, but queried, ' how are we to overlook the fact that the 
name of Thomas [sic] Yarrington appears at full length on 
the title-pages of the Tzuo Tragedies F ' ^ In 1885, in the 
introduction to his reprint of the Tzvo Tragedies in One,^ he 

1 Cf., however, Law, R. A., Mod. Lang. Rev., V, 177, for the opinion 
that the ballad is the later version. 

" Henslowe's Diary, Shakespeare Soc, 1845, P- 9~- He only suggests 
that the material used in both was identical. 

3 Works of John Day (1881), I, 7. 

4 Old Plays, Vol. IV, pp. 1-2. 



called attention in a footnote to ' a piece by Chettle called " The 
Orphanes Tragedy ", a title which at once reminds us of the 
second plot of Yarington's play '. He attached no importance 
to the coincidence and went on to say : 'Although not published 
until 1601, the Tzvo Tragedies in One would seem from in- 
ternal evidence to have been written some years earlier. The 
language has a bald, antiquated look, and the stage-directions 
are amusingly simple '. He then suggested that perhaps in this 
play and A Warning for Fair ]Vomen we have ' early essays 
by the author whose genius displayed its full power in Arden 
of Fevcrsham\^ Singer in 1891 took the hint in Bullen's 
footnote, however, and suggested the possibility that Haughton 
and Day's Thomas Merry and Chettle's Orphans' Tragedy, 
both of which date from 1599, were united by Yarington two 
years later, adding ' sonst lasst sich die seltsame ineinander- 
schachtelung zweier handlungen . . . schwer erklaren.' - In the 
same year Fleay ^ stated the hypothesis in more positive terms 
and called attention to the possible connection of a third play, 
Day's Italian Tragedy, which he would identify with Chettle's 
Orphans' Tragedy. Fleay's statement reads : " This singular 
production [Two Lamentable Tragedies^ is made up of alter- 
nate scenes from two stories — i. Merry's murder of Beech, a 
Thames Street chandler; 2. The murder of an orphan in Italy, 
the story being the same as that of the ballad of TJie Babes in 
the Wood. Still more curious is the fact that in Nov. 
1599 Chettle began a play for the Admiral's men at the Rose 
called The Tragedy of Orphans, for which in Sept. 160T, 
when they had removed to the Fortune, he got a further pay- 
ment on account, but apparently never finished; and that at a 

1 Ibid., p. 2. A JVarning for Fair JVomoi has since been attributed 
to Heywood. Cf. J. Q. Adams, Jr. in Pub. Mod. Lang. Assoc, XXVIII 
(1913). 594-620. 

^ Das biirgerliche Trauersl^icl in England, Leipzig Diss., 1891, p. 29. 

^Chronicle, II, 285-6. 



very dose date, Nov. -Dec. 1599, Haughton and Day got 
full payment for their Tragedy of Merry. This coinci- 
dence is sufficiently striking; but when we find that in 1600 the 
Master of the Revels was paid for licensing Beech's Tragedy, 
which was evidently the same play, the connexion grows 
stronger; for I have shown in my History of tlie Stage that 
such payments in Henslow's Diary were for licenses to print, 
and not to perform. This play was published by Matthew 
Law, who is only known as a play-publisher from this instance 
and that of [Heywood's] Hoiv to choose, &c. I can see no 
doubt that this play was the publication paid for, made up out 
of the two by Chettle, Day, and Haughton; that Yarrington 
was a fictitious name; and that the los. paid in 1601 was for 
alterations, perhaps for Chettle's pains in consolidating the two 
plays. Moreover, on loth Jan. 1600 Day got paid £2 for 
his Italian Tragedy, which may have been the same as The 
Tragedy of Orphans." Fleay's conclusions were accepted and 
reaffirmed by Greg in his edition of Henslowe's Diary. 

Though the theory urged by Fleay is based upon a chain of 
assumptions which are often contrary to probability, and is the 
result of contradictory reasoning, it has been openly opposed 
only once. In an article in the Modern Language Review 
(V: 167-77) Mr. R. A. Law sought to show (i) that the Two 
Tragedies in One is not an amalgamation of plays by 
Haughton, Day and Chettle; (2) that it was written imme- 
diately after the murder of Beech (that is to say, in 1594) ; 
and (3) that it is the work of one man. With this at- 
tempt the present writer is in substantial sympathy, but since 
there are some points in the article with which he cannot 
agree, and since it is not the purpose of the present discussion 
to go into the whole problem presented by the Tzvo Lament- 
able Tragedies, space will not be taken to examine the paper 
in detail here. The points that seem helpful to getting at the 
truth of the matter will be noted in their place. 



It is safe to say that the Tzuo Tragedies in One would never 
have been connected with the name of either Haughton or 
Day or Chettle were it not for the coincidence between the 
subject of Haughton's play and the ]Merry portion of the Tzi'o 
Tragedies in One. The Tzco Tragedies in One is indeed a 
wretched affair. As Greg says, " The ]\Ierry part is written 
in an extraordinary wooden bombast of grotesque common- 
place, which it would be difficult to parallel except from some 
broadside ballads, and which one may well hesitate to father 
on any one." But with such a coincidence as a starting point 
it was possible for the theory of Fleay to arise and grow de- 
spite the fact that the obvious character of the play makes the 
hypothesis on its very face highly improbable. The theory is 
fallacious from beginning to end. Unfortunately, space does 
not permit us to examine the steps of the argument in detail, 
but w^e may strike at the root of the matter by scrutinizing the 
most fundamental points. 

It is assumed by Fleay that Chettle's Orphans' Tragedy and 
Day's Italian Tragedy are identical ; and the means by which 
he justifies this otherwise unsupported assumption may be 
taken as typical of the kind of reasoning which has been em- 
ployed in support of his theory. It is assumed, first, that 
since Chettle's Orphans' Tragedy and the second part of the 
Tzvo Lamentable Tragedies concern an orphan (or orphans [ ?] 
in Chettle's play), these two plays are the same. Now, the 
scene of this part of Tzvo Tragedies in One is Italy, and so, 
by a deduction from an assumption, the Orphans' Tragedy is 
Italian. But this inference, based on an assumption, is made 
the basis of still another conclusion. Day was the author of a 
certain Italian Tragedy. Chettle's Orphans' Tragedy is in- 
ferred to be Italian in setting. Therefore Day's and Chettle's 
plays are one and the same. It is needless to point out that by 
reasoning such as this it would be possible to prove Romeo 


and Juliet, Othello and the Duchess of MalR all one and the 
same play. Italian tragedies — does it seem necessary to re- 
call? — were rather numerous in the Elizabethan Age. Went- 
worth Smith wrote one specifically called TJie Italian Tragedy; 
yet we are told that this play (the title of which is also all that 
remains) has no connection with the unfinished Italian Tragedy 
of Day.^ In support of such reasoning it is urged that the 
plays identified are of approximately the same date and that 
in the Diary they are not fully paid for. The first plea may be 
disregarded; the second is rendered valueless by the circum- 
stance that plays partially paid for are of frequent occurrence 
in the Diary. In the meantime, however, it is forgotten that 
the only thing that we knozv about either Chettle's Orphans' 
Tragedy or Day's Italian Tragedy is its title, and that the only 
thing the titles have in common is the word ' tragedy '.^ 

In addition to the fact that the reasoning just illustrated is 
based on a series of violent assumptions, there is the circum- 
stance that it is in its nature circular. The assumption that 
the Babes in the Wood part of the Two Tragedies in One is 
the same as Chettle's Tragedy of Orphans and Day's Italian 
Tragedy is based upon the assumption that the last two plays 
are the same. But this assumption itself is based, as we have 
just seen, on the Tzvo Tragedies in One. 

Apart, however, from the method by which Fleay's opinion 
is reached, there are other serious obstacles in the way to 
accepting it. To put the matter as briefly as possible, it may 
be urged (i) that as the Orphans' Tragedy is but partly paid 
for in the Diary, there is no evidence that it was ever finished ; 

1 The writer may say that he agrees fully with this opinion. Smith's 
play seems to be quite an independent production. 

■^ It is unnecessary to point out that if the initial assumption be ques- 
tioned — that the Orphans' Tragedy and the Babes in the Wood part of 
Two Tragedies in One are identical — the whole fabric crumbles to pieces 
at the beginning. 



(2) that those who wish to consider it a finished play are 
forced to eke it out by identifying with it an Italian Tragedy 
by Day; (3) that even by so doing they are only able to bring 
the total sum paid for it up to £3 10/ — , only a little more 
than half the usual price of a finished play. ^Moreover, the 
identification of the Orphans' Tragedy and the Italian Tragedy 
is damaged by the fact that in the Diary the entries for these 
plays are quite distinct and there is no evidence that the Or- 
phans' Tragedy was Italian or that the Italian Tragedy had 
anything to do with orphans. 

The looseness of the reasoning by which Fleay's theory is 
supported may be seen in another of his arguments. The 
payment of 7s. which Henslowe made to the ]\Iaster of the 
Revels, Jan. 1600, for Wctnsmg Beeeh' s Tragedy ^ Fleay claims 
was for license " to print, and not to perform ", and he adds, 
" I can see no doubt that this play [he is now speaking of the 
Two Lamentable Tragedies^ was the publication paid for, 
made up out of the two by Chettle, Day, and Haughton ; that 
Yarrington was a fictitious name; and that the los. paid in 
1 60 1 w^as for alterations, perhaps for Chettle's pains in con- 
solidating the two plays ".^ Such a complete disregard of 
chronology' would be hard to parallel. If the two plays were 
not combined until the 24 Sept. 1601, the date when Chettle 
received the los. payment, we are met by the strange phenom- 
enon of a play's being licensed for publication a year and five 
months before it was written. If anyone could be imagined 
to support such a position, it may be pointed out that Fleay's 
argument rests upon a mistaken notion of the significance of 
the entries in Henslowe for licensing plays. That these pay- 
ments to the Master of the Revels were not for licenses to 
print, but for permission to act, has been conclusively shown 
by Mr. Greg.^ It is, however, an equally untenable assump- 

1 Fleay, Drama, II, 2B6. "^ Diary, II, 113-6. 



tion that the Hcensing of BcccJi's Tragedy in Jan. 1600 was 
for permission to act the Tzvo Lamentable Tragedies ; for then 
we should have Henslowe paying the blaster of the Revels 
for license to act a play seventeen months before, on Fleay's 
own admission, that play was in existence. In this respect the 
argument of Fleay is a tissue of absurdities. 

When we have thus cleared the ground of the results of 
such erroneous reasoning we find that there is nothing to 
support the identification of any plays by Haughton, Chettle, 
or Day, with Yarington's Tzl'O Tragedies in One. We may 
next note that such an identification has been attended by a 
number of actual difficulties which its supporters themselves 
are conscious of. Some of these have already been mentioned, 
and there are others equally great. For example, even Mr. 
Greg, who supports Fleay's theory, is unable to find any trace 
of Day's hand in the Tivo Tragedies in One, and since Day 
wrote a part of each of the plays of which he thinks the Two 
Tragedies in One was made, he is forced to explain the ab- 
sence rather fancifully: '* I conjecture," he says, "that Day 
constructed a more or less independent underplot to each, and 
that these were dropt when the main plots were amalga- 
mated." ^ This, however, is by no means convincing and is 
needed only to explain away a difficulty which exists but as a 
result of Fleay's theory. Again, there is the name of the 
author, as given on the title-page, Rob. Yarington. Naturally 
this presents considerable difficulty to those who wish to find 
in the Tivo Tragedies in One an amalgamation by Chettle of 
plays by Haughton, Day and himself. None of the attempts 
to explain it has been plausible. Fleay thinks that Yarington 
was a fictitious name ; Greg, that it was the name of the 
scribe. But all such explanations are likewise attempts to 
account for a difficulty which in reality does not exist. Fleay's 

^ Diary, II, 209. 


theory is possible only by the employment of impossible logic 
and at the expense of difficulties which its supporters have not 
been able to explain away. 

In the last place, all the evidence that exists is directly op- 
posed to the theory. Each of the authors to whom any por- 
tion of Yarington's play is attributed were competent, experi- 
enced dramatists in 1 599-1600. Haughton, to mention only 
pieces still extant, had already produced the excellent comedy 
edited in the present volume and was at this very time sharing 
with Dekker and Chettle in the authorship of Patient Grisscl. 
Chettle had written nearly a dozen plays. Of the quality of 
Day's w^ork alone we cannot speak with much certainty at so 
early a date ; but Mr. Greg is authority for the assurance that 
there ' is certainly no trace of his hand now remaining ' in the 
Tzi'o Lamentable Tragedies. In direct contrast to the work 
of these three experienced dramatists stands the Tico Trage- 
dies in One. This play is conspicuous for its crudity, wooden- 
ness and general amateurishness. It is filled with undramatic 
* talk ' and the author was so incapable of appreciating the 
dramatic in his material that he was forced in places to eke 
out with narrative an action which tlie combined resources of 
two plots failed to fill. Characterization is reduced to a mini- 
mum. The author repeats ideas and even rimes ^ within a 
few lines of each other, and he at times confuses his charac- 
ters." But perhaps his versification is the strongest mark of 
his individuality, and most clearly distinguishes him from 
Haughton, Chettle and Day. The verse of Yarington's play 
is extremely * regular ' ; each line consists almost invariably 
of only ten syllables, is usually end-stopped, and has almost 
without exception a masculine ending. There are only about 

1 The rime 'pray-clay' occurs twice on the same page (17); 'dye- 
cruelly' occurs three times within 16 lines (pp. 57-8). 

" Cf. the confusion in the characters of the two ruffians in II, ii and 
III, ii. (Both scenes belong to the same half of the play.) 



a dozen feminine endings in the whole play. When one com- 
pares this with the freedom and at times irregularity of 
Haughton's verse, the difference is too apparent to need dis- 
cussion. Other marks of inexperience and amateurishness 
have been noted at various times, such, for example, as the 
curious stage-directions; but these need not be catalogued 
here. After all, what stamps this play on every page as the 
work of a novice are those subtle characteristics and qualities 
which do not admit of brief analysis and exposition, but which 
are apparent to everyone upon the first reading of the play. 
Everything about the play is in direct contrast with what we 
know to be the quality and character of Haughton, Day and 
Chettle, and contradicts on the very face of things Fleay's 
whole theory. 

It has been thought necessary to go at some length into the 
problem presented by Yarington's Two Lamentable Tragedies 
in order to show that Fleay's theory is unsupported by a single 
scrap of evidence, and that it is, moreover, quite untenable. 
Of course, our chief purpose has been to remove from Haugh- 
ton the responsibility for any share in this wretched play ; and 
this, it is believed, has been sufficiently done. Yet it is pos- 
sible to establish the case with still greater certainty through 
evidence of another sort. 

It has been shown by ]\Ir. Law in the article referred to 
above that the orphan-part of Yarington's play shows a num- 
ber of passages closely parallel to. or imitating, plays which 
were on the stage in 1594, and that one unusual line in the 
Merry portion is found likewise in one of these early plays. ^ 

1 I do not wish to go into the question here whether the Tivo Tragedies 
in One is the work of one man or two. The two parts show on first 
reading a rather marked stj^hstic difference; but successive re-readings 
leave one less certain of the difference, and when one attempts to 
tabulate the evidence of rime and other versification tests, tests of 
vocabulary, etc., the testimonj-^ is conflicting. What may have been the 


This, together with certain other evidence, has been taken as 
estabhshing a probabiHty that Yarington's Two Lamentable 
Tragedies was written as early as 1594. However this may 
be, it is capable of almost exact demonstration that at least the 
]\Ierry portion of the Tivo Tragedies in One was written be- 
fore November, 1599 when Day and Haughton wrote their 
Tragedy of Thomas Merry. In Act IV, Sc. iii, of Yarington's 
play there occurs the only attempt at comedy in the whole 
piece. Here are introduced two Thames watermen on their 
way to their boats, one of whom is portrayed with a manner- 
ism of speech that furnishes the comedy. In their conversa- 
tion there arises the time-honored jest of the hangman's bud- 
get, whereupon the First Waterman remarks that " Bull always 
strips all quartered traitors quite ".^ This allusion to the 
hangman is so casual that it has entirely escaped notice; but 
since it is such a wholly gratuitous one, it is of the greatest 
value in determining the date of the play. The common hang- 
man of London in the early nineties, as fairly frequent con- 
temporary allusion shows, was named Bull; and he was still 
living and executing his office in 1597.' About this time, 
however, he must have died and have been succeeded by one 
Derrick, who held the post for nearly fifty years. Already by 
the beginning of the year 1600 the name of the latter had 
passed into common use as a synonym for hanging.^ It is so 

case is that two sources, not necessarily plays, differing materially from 
each other in general character and poetic quality, were made over pretty 
thoroughly by one man of very mediocre ability. Whether the author 
was Robert Yarington, as seems most likely, or some one else is of no 
importance in the present discussion. 

1 P. 63. The watermen have just stumbled upon the sack containing 
Beech's head and legs and they do not know what it means. 

- Bull is mentioned several times by Xash ; cf . Works ed. McKerrow, 
s. V. in Index. The last allusion to him that I have found is in Harvey's 
The Trimmmg of Thomas Xashe (I597) ; Works, ed. Grosart. III. 70. 

3 Hence our word ' derrick '. Cf. Oxford Dictionary. 


used in Kemps Xiiic Daics Wonder, licensed 22 April 1600; ^ 
and such use implies a certain lapse of time for the develop- 
ment. It seems not unlikely that Bull was dead in 1597 or 
1598, and if such was the case, Yarington's allusion must be- 
long to a time prior to this date. If the Merry part of Yar- 
ington's play was written before 1597 or 1598, it cannot be 
based upon Haughton and Day's play, which was not written 
till Xov. 1599. Internal evidence thus tends to confirm the 
conclusion already reached in an entirely different way. 

A few words by way of resume may conclude the whole 
matter. The attempt to identify Yarington's Two Lamentable 
Tragedies with plays by Haughton, Day and Chettle arises 
from a mere coincidence, rests upon a series of assumptions 
which are without justification, and involves illogical reason- 
ing and a disregard for chronology which when corrected fill 
it with contradictions. It involves several difficulties which it 
has not been found possible to explain away, and disregards 
the most patent evidence of the play itself. Finally, as opposed 
to this attempt there is good reason to believe that the Two 
Tragedies in One is early, perhaps going back even to 1594; 

^ ' One that hath not wit enough to make a ballot, that... would Pol 
his father, Derick his dad, doe anie thing, how ill so euer . . .' (ed. 
Camden Soc, vol. IX, 1840, p. 21.) 

Derrick is frequently alluded to in contemporary literature. Collier 
{Athenaeum, no. 1006, p. 150, Feb. 6, 1847) quotes a ballad representing 
Derrick as the hangman who officiated at the execution of the Earl of 
Essex in 1601. Whether the ballad is genuine I do not know. Other 
allusions will be found in Dekker's Wonderful Year, 1603 (Grosart, A'on- 
Dramatic Works of Thomas Dekker, 1884-6, I, 148), Seven Deadly Sins 
of London, 1606 {ib. II, 27), Jests to Make You Merry, 1607 {ib. II, 
318), The Belman of London, 1608 {ib. Ill, 141, 169), and Gull's Horn- 
book, 1609 {ib. II, 215) ; Middleton's Black Book, 1604 {Works, ed. 
Bullen, 1885-6, VIII, 13, 38) and Father Hubburd's Tales, 1604 {ib., p. 70) ; 
William Rowley's Search for Money, 1609 {Percy Soc., II, 15). On the 
hangmen of London, see [.Y & Q], 12 Ser. I, 486 and previous notes there 
referred to, especially 2 Ser. XI, 445. 


while the allusion to a man as then living who was presumably- 
dead in 1597 or 1598 makes it almost certain that the Merry 
part antedates by at least a year the writing of Haughton and 
Day's play. When reduced to its lowest terms, what we know 
of Haughton and Day's Tragedy of Thomas Merry is that in 
Nov.-Dec. 1599 these men wrote such a play and were paid in 
full for it, that the play was licensed immediately and prob- 
ably acted, and that it is not extant in any form to-day. 

Thomas Merry could hardly have been finished when 
Haughton turned his attention to a type of drama wholly dif- 
ferent from his last two pieces, and this time his collaborator 
was Chettle. The Arcadian Virgin would seem from its title 
to be a pastoral, but since we know of it only from Henslowe's 
accounts we cannot be sure of its nature. In the Diary it is 
but partly paid for; twO' payments amounting to 15^". were 
made 13 and 17 Dec. 1597. From this it would seem that the 
play was never finished. Greg suggests that it may have been 
based on the story of Atalanta,^ but the title is so general that 
it reminds one equally of the Faithful SJicpIicrdcss. Its subject 
is of minor importance, not only because the play is not ex- 
tant, but because Haughton seems never to have tried the type 
again. Indeed he and Chettle may even have given up writing 
the Arcadian J'lrgin before it was finished to devote them- 
selves more fully with Dekker to the play on which they were 
meanwhile at work. Patioit Grissclr 

Between 16 Oct. and i Nov. 1599 Samuel Rowley on behalf 
of the company borrowed from Henslowe twenty shillings to 
pay " harrye chettell in Earneste of the playe of patient Grys- 
sell ". Two months later, 19 Dec. 1599, Robert Shaw author- 
ized Henslowe to pay three pounds to " thomas dickkers 

1 Pastoral Poetry and Pastoral Drama, 1906, p. 406. 

- Edited by Collier, Sliakcsl^earc Soc, 1841 ; by Grosart in Non-Dramatic 
Works of Thomas Dekker, vol. V (1886), pp. 109-232; and by G. Hiibsch, 
Erlanger Heitriige. XV, 1S93. 


harey chettell W" harton in earnest of a Boocke called patient 
grissell ". One week later, 26 Dec. 1599, Dekker received 
five shillings of Henslowe " in earneste of a playe called 
pacyent gresell ", and the next day, 29 Dec, Haughton re- 
ceived in like manner a similar sum. Both of these payments 
have been thought to refer to a continuation or second part, 
and this explanation is a plausible one. Without these two 
payments the amounts paid for Patient Grissel total the un- 
usual sum of £10, a price that is not equaled in Henslowe for 
so early a date. Later the price of plays rose considerably, 
but, as is w^ell known, £6 is the sum usually paid for a play 
before 1600, with occasional cases of £5 and £7. Since the 
sum of £10 for one play is extraordinary, it is often branded 
as impossible. Greg says " the authors certainly did not get 
£10.10.?. in earnest of the piece, although it is clear that that 
is w^hat Henslowe disbursed. I think, with Fleay, that £6 
was the price paid, though it is clear that the entry of 26 Dec. 
was not ' inclusive ' as far as Henslowe was concerned ".' 
Though improbable, it is worth remembering that £10 for 
one play is not impossible. Dekker and Jonson received £8 
for Page of Plimouth (1599), Chapman £8 for The Fount of 
New Fashion (1598), and Day and Chettle received between 
them £9 I4.y for the Conquest of Brute (1598). Because of the 
sum, the last is without other evidence sometimes assumed to 
be two plays. If the authors did not receive £10 for Patient 
Grissel, there is as yet no entirely convincing explanation of 
the entries for this play in Henslowe. 

On 26 Jan. 1599/ 1600 the sum of twenty shillings was paid 
for " a grey gowne for gryssell ", and the play was probably 
performed soon after. At all events, by 18 March 1 599/1600 
a version of the play had got into the hands of a printer, for 
on this day Henslowe advanced £2 " to staye the printing of 

1 Greg, II, 207. 


patient grisell ". Curiously enough, ten days after this pay- 
ment (28 March) the play was entered on the Stationers' 
Register. If this entry refers to the present play it is difficult 
to explain it, unless the registration was to prevent any one 
else from obtaining the publishing rights. At all events, the 
play was not printed till 1603, when it appeared with the title- 
page : The pleasant Comedie of Patient Grissill. As it hath 
beene sundrie times lately plaid by the right honorable the 
Earle of Nottingham (Lord high Admirall) his servants. 
London. Imprinted for Henry Rocker .... 1603. 

Although in this title-page the names of the authors are not 
given, there can be little doubt, considering the entries in Hens- 
lowe, of the authorship of the play. From these entries it 
appears that Chettle began the piece and that Dekker and 
Haughton joined him in the enterprise two months later. The 
whole play, from the evidence in Henslowe, belongs to the end 
of the year 1599 and was the joint work of the three men 
named. Yet the obviousness of this conclusion has been some- 
what disturbed by the speculation of Prof. Bang,^ following 
a suggestion of Collier. Prof. Bang argues from certain in- 
consistencies in the text of Patient Grissel that the play as we 
have it is an earlier piece by Chettle (dating perhaps as early 
as 1594) revised and in part rewritten by him in 1599 in col- 
laboration with Dekker. Haughton and Ben Jonson. A\^ithout 
going into the matter here, suffice it to say that Prof. Bang's 
conclusions have not met with much favor. Nor is his evi- 
dence convincing: the little contradictions and inconsistencies 
upon which he bases his theory are such as appear everj^where 
in Elizabethan drama and in this play are easily explained by 
the circumstance that the piece was the joint work of three 
men. Moreover, such a theory is not consistent with the nature 
of the entries in the Diary and makes still more difficult the 

1 Dekker Studien, Eiiglisclic Stitdicii, XXVIII (1900), 208 fF. 



explanation of the £10 paid for the piece, since this sum would 
certainly not be paid for a mere revision. On the whole, there 
seems no good reason for doubting- that the play was an orig- 
inal work by Chettle, Dekker and Haughton, dating from 
1599. What the respective shares of the three playwrights 
were will be the subject of treatment below. 

Our knowledge of the sources of Patient Grisscl is as 
yet in a rather unsatisfactory state. The plot is three-fold. 
It consists of the main story, that of Patient Griselda, the 
submissive and suffering wife, and of two sub-plots : one, the 
attempt of Sir Owen, a Welsh Knight, to subdue the widow 
Gwenthian — the taming of a shrew ; the other, the refusal of 
Julia to be won by any of her three suitors — a variant of the 
situation of Much Ado. The three plots are brought into inti- 
mate connection with one another through the circumstance 
that the main character of each is connected to the chief char- 
acter of the others by family relationship. Of the main plot 
alone has a source been suggested. The story of Patient 
Grissel was known in England from the time of Chaucer, who 
had it on his own account of Petrarch, and various versions 
in prose and verse were printed in the sixteenth century. The 
relation of our play to the earlier versions of the story has 
been several times treated.^ but the attempts that have been 
made are all either inadequate or marred by absurdities. 
Hiibsch, for example, tries to show that the English version 
comes from the German of Steinhowel because the form of the 
name " Grissell " is the same in both and because of certain 
vague resemblances. He also says that it owes something to 
Petrarch. The immediate sources of the play. Hiibsch's con- 
clusion is, are the English prose version, which he thinks is 
based on Steinhowel and Petrarch, and the English ballad, 
which comes out of the English prose version." We are cer- 

1 Collier, edition of play; Westenholtz, F. von, Die Griseldis-Sage 
in der Literaturgeschichte, Heidelberg, 1888; Hiibsch, 0. c. 

2 Introduction, pp. xxiii-iv. 


tainly not prepared to accept this conclusion as final. The 
marked variations in the play make it more probable that the 
source was a version of the story not at present known unless 
we accept these variations as the invention of the dramatists. 
It is not, however, unlikely that the known English versions 
were also used. Dekker's inimitable lyric in the play, szceet 
content! may have owed something by way of suggestion to 
a line in the ballad version, IV here love and virtue dwell with 
szccet content.'^ There is not space here to pursue further the 
queston of source, but certainly much work remains to be done 
on the originals of Patient Grissel. 

The problem of dividing the play among the three drama- 
tists concerned is a difficult one and one the solution of which 
must leave way for considerable difference of opinion. Fleay 
thinks Dekker " mainly wrote the scenes in which Laureo 
[Grissell's brother] and Babulo [the fool] (characters not 
found in the old story) enter, and Chettle the Welsh scenes; 
Haughton the remainder, besides helping Dekker in his part." - 
With parts of this division there can be only agreement. 
There can be no doubt that the scenes which contain Laureo 
and Babulo and in which the daily life of the tradesman class 
is portrayed are Dekker's; the resemblance to the Shoemakers' 
Holiday is striking. But it is much more likely that Dekker 
wrote the Welsh scenes than Chettle, since, as Miss Hunt 
notes, Dekker had a considerable liking for Welsh, introduc- 
ing another " British knight " into Satiromastix and an- 
other into Northward Ho.^ Haughton's share, I believe, 
is limited to the scenes in which Julia appears. Here among 

1 Cf. Collier ed., p. xiv. 

^ Drama, I, 271. 

3 Mr. Tucker Brooke (Tudor Drama, 410) adds: 'That Dekker was 
indeed mainly responsible for this sub-plot ... is pretty evident from the 
recurrence of the identical theme and figures in the Mistress Miniver and 
Sir Rus ap Vaughan episode in his " Satiromastix." ' 



Other likenesses is his characteristic tendency to group things 
in threes. Just as in Englishmen for My Money there are 
three daughters, three EngHsh lovers and three foreign suitors, 
so in Patient Grissel Julia is sought after by three admirers. 
The part of these scenes in which Sir Emulo appears are, 
however, probably by Dekker. This leaves a rather smaller 
share of the play to Chettle than is usually assigned to him. 
Since he is supposed to have begun the play it is usual to credit 
him with the bulk of the main plot. But even here Miss Hunt 
perceives traces of Dekker's hand. From my own analysis of 
the play I should assign the largest part to Dekker. Swin- 
burne says : "Chettle and Haughton, the associates of Dekker 
in this enterprise, had each of them something of their col- 
league's finer qualities ; but the best scenes in the play remind 
me rather of Dekker's best early work than of ' Robert, Earl 
of Huntington ' or of ' Englishmen for My Money '." ^ 
Professor Penniman likewise expresses the view that of 
Patient Grissel " Dekker evidently wrote a considerable part " ^ 
If the relative shares of the three men were indicated tabularly, 
the result, I think, would be roughly as follows : 

> Chettle 

A. Walter ^ 
The Marquess of Pavia j 
Mario ! 

Janiculo, father to Grissel 
Laureo. brother " " 
Babulo, fool 

B. Sir Owen, Welsh Knight 
Rice, his servant 
Gwenthian, the widow 

^ Swinburne, Age of Shakespeare, pp. 72-^. 

2 Poetaster and Satiromastix, ed. J. H. Penniman, Intro., p. x. 



C. Julia ^ 


Farneze y Haughton 

Emulo {with Dekker) 

The attribution of the Sir Emulo parts to Dekker raises the 
question of the relation of Patient Grissel to the ' War of the 
Theatres '. The striking similarity of the Emulo-Sir Owen 
duel in this play and the Brisk-Lentulo duel in Jonson's Every 
Man out of His Humor has long been noted ; and the similar- 
ity in the characters of Brisk and Emulo in their use of ab- 
surdly affected language is equally clear. Fleay, Small and 
Penniman are at one in believing these characters to be take- 
offs of the poet Daniel. Wallace calls the Emulo-Owen duel 
" a clear imitation of Jonson's Brisk-Lentulo duel 'V but, as 
Bang ^ points out, the scene in Patient Grissel is dramatically 
more appropriate than in Jonson and appears to be the original. 
One is at a loss to explain Tucker Brooks's cavil : " There 
appears to be no support for the idea of Fleay and Penniman 
that the poet Daniel is satirized as Master Matthew and 
Fastidious Brisk in Jonson's Every Man plays and as Emulo 
in Patient Grissell." ^ The theory has every plausibility. We 
have the testimony of Lodge that Daniel was " choice of 
word ",^ and as Professor Penniman shows " Dekker was col- 
laborating with Jonson at the time Patient Grissel was being 
written ".^ It is not possible to decide with finalit}^ upon the 
relation of Patient Grissel to the War of the Theatres. Prob- 

1 Wallace, C. W., The Children of the Chapel at Blackfriars 1597-1603, 
(1908), p. 170. The statement is echoed by Tucker Brooke, Tudor 
Drama, pp. 409-10. 

2 Englische Studien, XXVIII, 214. 
' Tudor Drama, 374 n. 

* Wits Miserie, quoted in Penniman, Poetaster and Satiromastix, p. x. 

* lb., p. X. 



ably Haughton's connection with the quarrel was slight and 
rather accidental. Yet despite the fact that Haughton's share 
in the play is, it would seem, somewhat less than has at times 
been supposed, it is nevertheless significant to find him asso- 
ciated with Dekker and Chettle in the enterprise. 

The eclectic character of Haughton's art may be seen from 
the next play on which he was at work. In Henslowe there is 
the record : ^ 

Layd owt for the company the 13 of febrearye ^ 

1599 for a boocke called the spaneshe mores A vnto 

thomas deckers w™ harton John daye in 
pte of payment the some of ... . 


>■ "J 

There is no further record of the piece and it may not have 
been finished. No play of this name is extant to-day; but 
there exists a play called Lust's Dominion, printed in 1657 as 
by Marlowe, which has for its chief character a Spanish Moor. 
This play, so far as subject and title go, could easily be the 
Spanish Moor's Tragedy. It is much earlier than the date 
when it was printed, strongly resembles Tittis Andronicus and 
some of Marlowe's plays, and would seem to be certainly as 
early as 1600. It shows a slight indebtedness to a short 
account, printed in 1599, called A Brief and True Declaration 
of the Sicknesse, Last Wordes, and Death of the King of 
Spaiue, Philip, the Second . . . ,^ while Fleay perceived 
traces of still earlier work which he thought there was no 
reason to believe " should not have been written by Marlowe " ^ 
Lust's Dominion was identified by Collier * and Fleay ^ with 

^ Diary, F. 67^ (Greg, I, 118). Malone read the title as the 'Spanish 
Morris, tragedy '. 

^ First noted by Collier. The tract is printed in Harleian Miscellany 
(1809), II, 284 ff. 

' See Drama, I, 272. 

* English Dramatic Poetry, III, 96. ^ Drama, I, 272-3. 


Haughton, Dekker and Day's play; and the matter has been, 
the subject of more or less comment since. 

Since Collier's suggestion was so confidently reasserted by 
Fleay, opinion has until very recently been much less certain 
in ascribing Lust's Dominion to the dramatists mentioned. 
Ward thinks the identification rests " on insufficient grounds ", 
and can " perceive nothing in this play which there seems 
reason for assigning to Dekker individually ".^ Professor 
Schelling calls the identification " not impossible ",- and Mr. 
Greg thinks it " not unlikely ".^ That Dekker had a hand in 
the play has been asserted with the greatest confidence by Mr. 
Swinburne/ and denied with equal assertiveness by the latest 
special student of Dekker/ It is strange that those who have 
studied in most detail the work of the collaborators in the 
Spanish Moor's Tragedy usually deny the presence of their 
particular dramatist's work in Lust's Dominion. Miss Hunt^ 
speaking from the point of view of a student of Dekker, says : 
" It is not only wholly unlike the known work of Dekker. but 
it is also for the most part unlike that of his collaborators. . . 
The Queen and Eleazer were conceived by a more " robust " 
mind than that of Dekker, who never drew either a convinc- 
ing villain or a bad woman of imposing presence, or told in 
his plays a story of successful lust. Nor can I see any evi- 
dence in characterization or in phrasing that he retouched this 
drama, least of all the opening scene, which Swinburne so 
positively claims for him "." Mr. Bullen, the editor of Day's 
works, says, " I certainly can find no trace of Day's hand in 

1 E>ig. Dram. Lit., II, 467. 

^Elizabethan Drama, I, 222. 

3 Diary, II, 211. 

*Age of Shakespeare, pp. 85-7. 

5 Hunt, M. L., Thomas Dekker. A Study, 1911, p. 63. 

® Hunt, op. cit., p. 63. 


Lust's Dominion ".^ As for Haughton, though there are occa- 
sional similarities, yet there is nothing that can be conclusively 
proved to be his. 

The question has most recently been discussed by Mr. H. 
D. Sykes in Notes and Queries^- who asserts that " Miss Hunt 
is wrong and Swinburne is right ". His communication aims 
to establish Dekker's authorship in the extant Lust's Dominion. 
"Although ' Lust's Dominion,' " he says, " is unlike most of 
Dekker's work, a comparison of it with his early ventures in 
the domain of tragedy, and especially with ' Old Fortunatus ', 
will at once place its identity with ' The Spanish Moor's Trag- 
edy ' beyond a doubt. That of all Dekker's plays it should be 
' Old Fortunatus ' that, in its style and diction, is most closely 
connected with ' Lust's Dominion ' is natural, since the latter 
play (taking it to be 'The Spanish Moor's Tragedy') was 
written immediately after Dekker had finished w^orking on 
' Old Fortunatus '." The evidence upon which the identifica- 
tion is made consists chiefly of parallel passages from Lust's 
Dominion and other plays of Dekker. Some of these are 
striking, others are less convincing, and still others are weak- 
ened by being drawn from works not wholly Dekker's. But 
in the main the citations are apt. In addition to the testimony 
of parallel passages, evidence is drawn from the similarity be- 
tween the scene (HI. ii) in which " Fernando endeavors to 
debauch the chaste Maria " and corresponding scenes in Satiro- 
mastix, Westzvard Ho, Old Fortunatus and The Honest Whore. 
The further occurrence of certain of Dekker's mannerisms 
and some of his favorite words convinces the writer of the 
article that the identification is sound. And so far as Dek- 
ker's hand in Lust's Dominion is concerned, he seems to have 
proved his point. 

' Works of John Day, I, 8. 

^ ' The Spanish Moor's Tragedy' or 'Lust's Dominion,' N. & Q., 
12 Ser. I. 81-4 (Jan. 29, 1916). 


To admit Dekker's partial authorship of Lust's Dominion is 
as much as to admit the identity of that play with the Spanish 
Moor's Tragedy, and consequently the presence of Day's and 
Haughton's hands in it as well. In the division of the play, 
however, among the three collaborators, there is again dis- 
agreement. Fleay gives I, II. i and V to Dekker; Ill.i-iv and 
all of IV to Day; Il.ii-v and Ill.v-vi to Haughton. With this 
division Greg cannot agree. In his judgment " Ill.i-iv are 
certainly by one hand ( ? Day's) and Il.iii-iv by another 
(? Haughton's), and the rest may be by one hand (? Dek- 
ker's), though this is doubtful." Sykes, in addition to posit- 
ing Dekker's general supervision and revision, assigns I, Il.i-ii, 
Ill.ii (to the entry of the fairies), iii-iv, V.v-vi to Dekker; 
Ill.i and end of ii, and IV to Day; V.i-iv to Day and Dekker; 
and Il.iii-vi, Ill.v-vi to Haughton. ]\Iy own concern is pri- 
marily with Haughton's share, and it may be interesting to 
note that my determination of Haughton's part, made before 
the publication of Sykes' article, coincides rather closely with 
his (and Fleay's) division. If there is anything of Haugh- 
ton's whatever in the play, it is III.v; and this scene so resem- 
bles Il.iii that both scenes must be assigned to the same author. 
Scenes iv-v of Act II are by the same hand as Scene iii ; but 
I see nothing else to add. This would make Haughton's share 
in the play consist of but four scenes (Il.iii-v, III.v). His 
part in the play is consequently not very large. ^ 

Between i and 8 (or lo?) March 1599/ 1600 Henslowe paid 
£6 for a play called The Seven JVise Masters, the work of 
Chettle, Dekker, Haughton and Day. Very little is known of 
this play or of the relative shares of the four dramatists con- 
cerned in it. Such evidence as there is to be gleaned from 

1 Aly assignment of these scenes to Haughton is based upon resemblances 
between them and Englishmen for My Money. To Sykes' evidence drawn 
from a comparison of the play with Grim the Collier of Croydon, a piece 
only doubtfully attributed to Haughton, I cannot attach great importance. 


Henslowe's entries would suggest that Chettle and Day were 
responsible for the largest part, though such an inference is 
none too safe/ The story of the Seven Sages,^ which must 
have been the basis of this play, is an old one and its essential 
elements are quickly told. The son of the Emperor Diocle- 
tian is tempted by the queen, his step-mother, but rejects her 
advances. His rebuff angers her, and in revenge she accuses 
him of insulting her and of plotting against his father. 
Thereupon the emperor condemns him to death. The execu- 
tion of the sentence is delayed by seven wise men, who tell in 
the day-time, for seven days, seven stories of the guile of 
women. But at night each day's story is offset by one told by 
the queen, until finall}', at the end of the seven days, when the 
queen has apparently prevailed, the young prince himself 
speaks, accuses his step-mother and succeeds in bringing upon 
her his own threatened punishment. This interesting story 
was extremely popular in medieval and early modern times, 
existing in several Middle English manuscripts and in a long 
series of printed versions running through the fifteenth, six- 
teenth and seventeenth centuries. Of the latter, one of the 
most popular was a metrical version of John Rolland, first 
published in I578(?), which passed through seven editions 
between 1590 and 1631. This may conceivably have been the 
basis of our play. If the stories told by the wise men and the 
queen are suppressed or properly curtailed, the plot of the 
Seven Wise Masters is sufficiently dramatic for representation, 
certainly as capable of dramatization as the themes of a great 
many other Elizabethan plays. Whether or not it was suc- 

1 The first payment (i March) is 40 shillings to all four writers; the 
second (2 March) is 30 shillings to Chettle alone; and the last (8 March), 
50 shillings to ' harey chettell & John daye in fulle payment . . .' (Diary, 
Ff. 67^-68.) 

2 On this famous theme see the excellent introduction by K. Campbell 
to his edition of the Seven Sages of Rome, Boston, 1907. 



cessful, surely it deserved to be. The production must have 
been a sumptuous one, since in three consecutive entries (be- 
tween 25 March and 2 April) Henslowe records the expendi- 
ture of £38 on it, chiefly for " taffataes & sattyns ". Unfor- 
tunately the name is all that we have left of a play which we 
would gladly know more about. 

Still experimental in his methods and not seeing fit to con- 
fine his attention to any one type of play, Haughton found 
himself in March 1600 working at a play on English pseudo- 
history, on no less a subject than that of Gorboduc. It is an 
interesting comment on the persistent interest in plays of this 
kind that the subject which interested the spectators of our 
" first regular English tragedy " should have remained attrac- 
tive through all the years, to have been rewritten forty years 
after it was first made the subject of a play. Ferrex and Por- 
rex, as Haughton called his version of the story, is usually 
regarded as a " revision " of Sackville and Norton's play; but 
there is no reason for so considering it. It was more probably 
a complete reworking of the story. It may, of course, have 
been based on the old play, but the entries in Henslowe seem 
to point to more than a mere revamping of the earlier work. 
Henslowe's payments extend from the 18 March to a date 
well on in April, amounting in all to £4. 15.?. ; and between 6 
and 10 ]\Iay the customary fee was paid to the ]\Iaster of the 
Revels for a license. Such evidence as there is suggests a 
new play. 

With his next play, the English Fugitives, we are in the 
midst of that period of Haughton's activity when he was 
working at greatest tension and producing with great rapidity 
a series of plays of which we have only the titles to-day. Two 
and sometimes three a month are paid for in the Diary or are 
recorded with a part payment and not otherwise mentioned. 
The circumstance that some of these were onlv noted in one 



or two payments, amounting to but a small part of the price 
of a finished play, has caused Air. Greg to suggest that Haugh- 
ton " Either, which is quite possible, . . . received many pay- 
ments not recorded in the Diary, or else he was obtaining 
money by a series of unfulfilled projects ".^ It is quite pos- 
sible, of course, that he did either or both of these things. 
There is reason to believe that a piece called Jtidas which he 
began was finished by others," while there is nothing to make 
it certain that a play was unfinished because it is not fully paid 
for in the Diary. It is even possible that subsequent payment 
may have been made for some plays under titles different from 
those originally used. Identifications based on this possibility 
have been suggested, but they are almost always incapable of 
substantiation. We are not in a position to speak with defi- 
niteness concerning most of the plays which Haughton was 
writing at this time. What we can with safety conclude, how- 
ever, leaves us with the impression of feverish haste and prolific 
industry as the characteristics of his activity during the early 
months of 1600. 

For the English Fugitives, Haughton received two pay- 
ments, 16 and 24 April 1600, amounting to thirty shillings; 
and nothing further is known of the piece. Yet here as else- 
where conjecture has not been idle and we have guesses con- 
cerning its identity, its subject and various other matters. 
Mr. Greg suggested that it may conceivably have been the 
same as Robin Hood's Pen'ortlis; but this does not seem to 
the present writer likely. Collier surmised " that the play was 
on the story of the Duchess of Suffolk, afterwards dramatised 
by Drue, and printed in 163 1. . . . " Greg, however, thinks it 
"more likely that the . . . play was connected with two tracts, 
'The Estate of English Fugitives under the King of Spain 
and his ministers ', and 'A Discourse of the Vsage of the Eng- 

1 Diary, II, 212. - See below, p. 79. 



lish Fugitives by the Spaniard ', both printed in 1595." Into 
the relative merits of these claims it is not profitable to go, 
since there is no hope of fixing the matter. All that we have 
left of the English Fugitives is its title. 

]\Iore vexing is the qestion which has grown up about 
Haughton's next play, The Devil and his Dame. In this piece 
we have an excellent illustration of the uncertainty which 
exists concerning the nature of Haughton's dealings with 
Henslowe at this time. The entry in the Diary reads : 

Lent vnto vv™ harton the 6 of maj-e 1600 in earneste 
of a Boocke vv<-"ii he wold calle the devell & his dame. 


This entry is the only record of the play in the Diary and it is 
crossed out. The cancellation, Greg thinks, means that the sum 
was repaid; and if this is so it would imply that Haughton did 
not complete the play. Yet another circumstance prevents us 
from being absolutely sure that the piece was not finished. 

There was published in 1662 a volume called "Gratiae Thea- 
trales. Or a choice Ternary of English Plays. . . . Never 
before published." In this volume one of the three plays is 
" Grim the Collier of Croydon, or the Devil and his Dame; 
with the Devil and St. Dunstan : A Comedy, by I T ". Al- 
though not printed until 1662 there can be no doubt that the 
play of Grim the Collier was written much earlier. Indeed it 
has at different times been said that the piece was printed in 
1599, 1600 or 1606;- but these statements are all without 
foundation. Nevertheless it certainly has every appearance of 
having been written by 1600. Who its author was is not 
known; the initials ' I. T.' tell us nothing. It is strange that 
two plays on the same subject and with the same title ^ should 

^ Diary, F. 69 (Greg, I, 121). 

-' By Chetwood, Ward, and Jacob respectively. See the summary of the 
matter in Greg, II, 213. 

' That the original title of Grim the Collier was the same as that of 
Haughton's play is evident from lines in Act V, Scene i, "And after judge, 
if we deserve to name This play of ours, The dei'il and his dame." 


have been written at so nearly the same time ; and the sugges- 
tion has been made that in Grim the Collier of Croydon we 
have the piece mentioned in Henslowe's Diary. 

This identification has been viewed with varying degrees of 
favor. Fleay. as usual, is very positive and asserts as though 
a fully established fact his opinion that the two plays are the 
same/ Professor Schelling is less credulous and merely calls 
Grim " a play not impossibly to be identified with Haughton's 
promised comedy ".- Mr. Greg does not commit himself, but 
says " Haughton's solitary advance of 5.?., which seems to hav3 
been repaid, is not much evidence for his authorship of the 
extant play, though of course he may quite well have written 
it for the company even though the record of payment is not 
found ".^ The question is a difficult one to approach and per- 
haps not capable of final solution. It is complicated besides 
by the fact that there were several earlier plays — extant and 
non-extant — based in part upon the same material, and that 
there may have been some connection between a non-extant 
play and the existing Grim the Collier of Croydon. 

It is true that there are certain features of Grim the Collier 
that remind one of Haughton's other comedy, Englishmen for 
My Money. The opening is in the same manner, — 

. . . Know then (who list) that I am English born, 
My name is Dunstan ; whilst I liv'd with men, . . . etc. 

whereupon the abbot proceeds to give an account of himself 
much as Pisaro does in the opening speech of Englishmen for 
My Money. Again the device of carrying forward the plot by 
stating the method in advance is characteristic of Haughton. 
From Grim it may be illustrated by these lines, anticipating the 
action : 

^ English Drama, I, 273. He also thinks that Drayton is caricatured as 
Robin Goodfellow, and that Belphegor as the doctor is Lodge. 
2 Elizabethan Drama, I, 356. ' Diary, II, 213. 


Thou shalt this night be brought unto his bed 
Instead of her, and he shall marry thee: 
Musgrave shall have my daughter, she her will ; 
And so shall all things sort to our content.^ 

The habit, too, of frequent parenthesis, which is common in 
Englishmen for My Money, is also found in parts of Grim the 
Collier of Croydon,^ and a few minor matters suggest the pos- 
sible presence of Haughton's hand. But the evidence is per- 
haps not very striking or convincing, and the play of Grim the 
Collier seems to reveal a variety of styles in its various por- 
tions. The serious scenes which concern the Earl Lacy and 
Honorea are very different in manner and versification from 
those that concern Grim and (later) the pranks of Robin 
Goodf allow. The latter show a crudeness and irregularity of 
metre and a tendency to run into doggerel verse that make 
these parts seem earlier than the rest of the play. There are 
other indications, though slight, which point in the same direc- 
tion for the ]\Iarian-Castiliano scenes, and it is possible that 
the whole play is the making over of an old play — perhaps the 
" historic of the Collyer " which was performed 30 Dec. 1576 
by Leicester's men at Hampton Court. ^ At all events if 
Haughton had anything to do with Grim the Collier of Croy- 
don it is probable that he was concerned in only a part of it; 
and the part which shows the most resemblance to his manner 
is the first scene of the first act. Perhaps he wrote this and no 
more, or perhaps in the rest of the play he touched up old 
work. If either of these possibilities were true there would be 
some reason for Henslowe's payment of five shillings, and its 
cancellation would have to be dififerently accounted for. But 
when all has been said, the evidence of Haughton's hand in 
Grim the Collier of Croydon is slight and is hardly sufficient 

■ Dodsley, VIII, p. 411. - Cf. ib., p. 394. 

^ See Wallace, C. W., Evolution of the Eralisli Drama up to Shakespeare, 
1912, p. 205. 



to establish his authorship of the play. We must once more be 
content, in the case of this play, with the uncertainty that 
characterizes the work of Haughton at this time. 

Two other plays, Strange News Out of Poland and Judas, 
complete this second and extremely busy period of Haughton's 
career. Strange Nezvs Out of Poland has caused historians of 
the drama considerable difficulty because the payment of £6 
which Henslowe records 17 May 1600 is to " Will : Haulton & 
nV Pett ". The difficulty is caused by the name " Mr. Pett ". 
No Pett is known elsewhere to have written plays, and Fleay 
queried, " Should it not be Chett., i. e., Chettle? " ^ Greg notes 
" Henslowe often has Cett for Chettle, which is even nearer, 
but only where he is crowded for room, and he never applies 
to him the title of Mr." - The last mentioned circumstance 
makes it somewhat unlikely that Chettle is meant. If Haugh- 
ton's collaborator, however, really was a Mr. Pett, then he is 
very difficult to identify. Hazlitt mentions a John Pett, Gen- 
tleman, who compiled " The great Circle of Easter Containing 
A short Rule To Know vppon what day of the month Easter 
day will fall . . . 1583",^ and a Peter Pett who was the 
author of " Times iourney to seeke his Daughter Truth . . . 
1599 ", in verse. The first of these individuals is not likely to 
have been the Pett in Henslowe. But it is just possible that 
the latter was, especially if he can be identified with the Peter 
Pett about to be mentioned. In a genealogy of the Pett family 
printed in the Ancestor^ there occurs the following passage: 
" Peter Pett, called Peter Pett the younger . . . [was] after 
the confusing fashion of his day, one of two sons with the 
same name. After his mother's death he was for a time in 

1 Drama, I, 273. - Diary, II, 213. 

3 Collections, II, 470. 

* Burke, H. F. and Barron, O., "The Builders of the Xavy: A Genealogy 
of the Family of Pett." Ancestor, X (July 1904), 147-17S. 


the cruel hands of his stepfather, Thomas Nunn, who put him 
out to a gentleman's house in Suffolk as teacher to the chil- 
dren. At the death of Thomas Nunn in 1599 he came to his 
good brother Phineas at Limehouse, and was prenticed by him 
in London. Soon afterwards he left his master for an idle 
life, which he was not long to lead, for on 21 June 1600 he 
died of small-pox at the Dolphin in Water Lane. On 23 June 
he was buried in the churchyard of Allhallows, Barking." ^ 
While in London he thus lived, it seems, near Haughton. 
Whether the suggested identification be considered plausible 
or not (it is made only as a suggestion), inability to identify 
the collaborator of Haughton is no evidence that the entry is 
incorrect or that there was no such person. Though we can- 
not fix the identity of the " Mr. Pett " in the Diary, we shall 
do well to credit Henslowe with knowing whom he was pay- 
ing money to, and to consider, until definite evidence to the 
contrary is forthcoming, that the persons mentioned by him 
were the authors of Strange News Out of Poland. The sub- 
ject of the play is not known. ^ " News from Spaine ", " News 
from Barbary ", " News from Turkic ", etc., were not unusual 
titles of Elizabethan prints;" and there was printed in 1621 
'' Newes from Poland. W^herein is Trvly inlarged the Occa- 
sion, Progression, and Interception of the Turks formidable 
threatning of Europe. And particularly the inuading of the 

* P. 153. Possibly Phineas Pett himself was the man mentioned by 
Plenslowe. " He was made assistant master shipwright in March 160^, 
and in January i6o| he was chosen by his good patron the Lord High 
Admiral to build for the young Prince Henry a little ship wherewith 
'to acquaint his grace with shipping' ..." (p. 155). In 1605 he was 
appointed master shipwright. An autobiography of him exists in MS. 
Harl. 6279. 

" Fleay's statement {Drama, I, 272,) 'A "shrew" play' is as Greg 
notes {Diary, H, 213-4) due to a printer's error. The words have dropped 
out of their proper place in the entry concerning the Dez'il and His Dame. 

» Cf. Hazlitt, Handbook, p. 417. 



Kingdome of Poland. . . . " ^ Creizenach suggested " that 
the play might have been a historical drama, but we cannot 
well conjecture what its subject was. 

The play of Judas is the last work of Haughton's to be re- 
corded in Henslowe for over six months. Its title is not abso- 
lutely certain, since the entries in the Diary may be read as 
either Judas or Jndas. The former, however, seems to be the 
correct reading.^ On 27 May 1600 Haughton received ten 
shillings in earnest of the play, but apparently went no further 
with it. At all events, he seems not to have received any other 
payment for it. A year and a half later, however, December 
1601. William Borne and Samuel Rowley received £6 " for a 
Boocke called Judas ". The character of the entries would 
suggest an independent work, but it is possible that these two 
men w^ere working on Haughton's unfinished undertaking. Be 
this as it may, there can be little doubt that Haughton ceased 
writing in the midst of the play and at the same time severed 
his connections with Henslowe for the next six months. When 
we next hear of him he is engaged upon an entirely new work. 

As we look back over the period of Haughton's career thus 
completed, we are amazed by the number and variety of the 
plays written in it. In the nine months of its duration Haugh- 
ton wrote or began to write no less than twelve plays covering 
the widest variety of subjects and types. Seven of them were 
in collaboration, five alone; of them all, only one, Patient 
Grissel, has been preserved. Written in feverish haste, some- 
times three at a time, they seem to have been produced in a 

^ Hazlitt, Collections, 3rd series, p. 198. 

' Gesch. d. neueren Dramas, IV, 220 note; English translation, The 
English Drama in the Age of Shakespeare (1916), p. 193 note. 

* Mr. Greg (I, 229) comments, "It is either Judas or Jndas, and re- 
appears in the same form at 95 29 and 95'^ 9. There was a play distinct 
from the present one on the West Indies which H. always spells enges, 
except in one solitary case (104 2) where he has Indies. We may there- 
fore safely conclude that Judas is here meant." 


vain endeavor to supply a purse that appears to have become 
very easily and quickly emptied. Some of them may have 
been written in prison, for it was during this time that Haugh- 
ton was shut up for a while in the Clink. Of their quality we 
are scarcely able to judge, but even the little we do know of 
them and the circumstances attending their production makes 
this one of the more important portions of Haughton's career. 


Third Period: Robin Hood's Pen'orths — 2 and 3 Blind Beggar of Bedtuil 
Green — The Conquest of the West Indies — Six Yeomen of the West 
and 2 Tom Dough — / and 2 Six Clothiers — Friar Rush and the Frond 
Woman of Antwerp — Fourth Period: William Cartwright. 

Upon his return, 20 December 1600, to the company for 
which Henslowe was banker, Haughton produced a play called 
Robin Hood's Pen'orths. The payments recorded for it 
extend to 13 January and amount in all to four pounds. One 
can hardly tell what story of Robin Hood it treated, and Prof. 
Thorndike says, " Of Robin Hood's Pennyworths nothing can 
be even surmised ". My friend and forrner colleague, Dr. 
Charles Wharton Stork, however, suggests that the play may 
possibly have dealt with the story of Robin Hood and the 
Potter, or Robin Hood and the Butcher, stories which tell how 
Robin Hood attempted to collect toll from the potter (and the 
butcher) and later in disguise sold for a few pence each his 
opponent's pots (or meat) worth much more, but how he made 
up for his loss by enticing the sheriff to the green woods and 
relieving him of all his possessions.^ The incident is used in 
the Playe of Robyn Hood, printed by Copland at the end of 
his edition of the Gcste,^ and may easily have been the subject 
of Haughton's play. 

The same month Haughton joined Day in an attempt to 

1 Cf. Child, F. J., English and Scottish Fopular Ballads, V, 108-120. 
2Cf. ib., p. 114. 


follow up the success of a play by the latter and Chettle which 
had just been performed. This play, The Blind Beggar of 
Bcdnal Grccii,^ had apparently pleased the public with its 
" merry humor of To)n Sfrozcd the Norfolk Yeoman ". Con- 
sequently we find Henslowe between 29 January and 5 May 
1 60 1 paying Day and Haughton (though Haughton had no 
share in the first part) £6 for a " second pte of the blinde 
beager of bednowle grene ", or as he sometimes called it " the 
second pte of thome strowd ". This in turn was sufficiently 
successful to warrant still a third part which Henslowe paid 
the same dramatists, Day and Haughton, £6. icxy. for from 
21 May to 30 July. We know that the third part contained a 
fire drake because Henslowe paid three shillings sixpence i 
Sept. " to bye blacke buckrome to macke a sewte for a fyer 
drack in the 3 pte of thome strowde " ; " but beyond this we 
can judge of the contents of the two later plays only by their 
being a continuation of the extant part.' 

While these two pieces were in progress Haughton was at 
work with Day on several other plays. The Conquest of the 
West Indies was the joint work of these authors in collabora- 
tion with Wentworth Smith. The first mention of the play is 
contained in an interesting note from Samuel Rowley to Hens- 
lowe dated 4 April 1601 : 

' Mr hinchloe J haue harde fyue shetes of a playe of 
the Conqueste of the Jndes & J dow not doute but Jt 
wj-ll be a verye good playe tharefore J praye ye 
delyuer them fortye shyllynges Jn earneste of Jt 
& take the papers Jnto yo^" one hands & on easter 
eue thaye promyse to make an ende of all the 


Rowlye ■* 

^ Ed. Bang, Mater. 2. Kunde, Vol. I, 1902. ^ Diary, F. 93. 

' On the subject matter of the first part in its relation to English 
history, see Schelling, F. E., The English Chronicle Play, New York, 
1902, p. 165. 

* Henslowe Papers, Art. 32 (Greg, Supplement, p. 56). 


On the strength of this note Henslowe advanced to Haughton 
and Day the forty shilHngs. But the dramatists did not fulfil 
their promise by Easter. On the 4 June they were still work- 
ing on the play, as the following note to Henslowe of this date 
and in Day's hand witnesses : 

J have occasion to be absent about the plott of the 
Jndyes therfre pray delyver it [some money] to 
will hamton sadler 

by me John Daye ^ 

Payments for the play continue until i Sept. No final pay- 
ment is recorded but the play must have been finished within a 
short time of this date, for between i Oct. and 21 Jan. follow- 
ing, Henslowe expended over £14 for properties. Since the 
play is not extant, its subject and source are not known. Prof. 
Creizenach ^ thinks it may have dealt with one of the expe- 
ditions of Sir Walter Raleigh. It would not be surprising, 
however, if it were connected with a tract published first in 
1578 and again in 1596, and having the title "The Pleasant 
Historic of the Conquest of the Weast India, now called new 
Spayne, Atchieued by the worthy Prince Hernando Cortes 
IMarques of the valley of Huaxacat, most delectable to Reade : 
Translated out of the Spanishe tongue, by T. N. [Thomas 
Nicholas] ".^ However this may be, nothing further or more 
definite is known of the play. 

Another play belonging to approximately the same time, 
and likewise the work of Haughton and Day, is The Six Yeo- 
men of the West. From the payments in the Diary, which 
extend from 20 May to 8 June 1601, it is evident that this 
play was being written at the same time the authors were also 
working on the j Blind Beggar and the Conquest of the West 

^ lb., Art. 35, p. 57. 

^ Gesch. d. neueren dramas, IV, 220 note; Eng. trans., p. 183 note. 

^Hazlitt, Collections, I, 101-2. 


I)idics. It is apparently a dramatization of matter derived 
from Thomas Deloney's Thomas of Reading, or The sixe 
zi'orthie Yeomen of the IVest.'^ With the play of the Six 
Yeomen of the West three other plays are very closely asso- 
ciated, so closely that the last two have at times been wrongly 
considered identical with the others. The three plays thus 
related to the Six Yeomen of the West are 2 Tom Dough and 
/ and 2 Six Clothiers. Tom Dough is one of the characters 
in Deloney's story, and the play of the 2 Tom Dough, also by 
Day and Haughton, is probably a continuation of the Six 
Yeomeii of the JVesf. The payments for it came between 30 
July and 11 Sept. 1601. The sum paid for the Six Yeomen 
was £5 in full ; for 2 Tom Dough the payments made amount 
to £4. The other two plays, i & 2 Six Clothiers, followed 
soon after the completion of these. The circumstance that the 
six yeomen in the Six Yeomen of the JVest were clothiers has 
led some to identify the last two plays with the first; but the 
entries in the Diary leave no room for doubt that they are quite 
independent productions. The first part of the Six Clothiers 
was paid £5 for, so far as the sums are recorded. On the 
second part Henslowe advanced the sum of £2 between the 
I and 8 Nov. (1601). The authors mentioned in connection 
with both parts are Haughton, Hathway and Wentworth 
Smith. ^ Just what the subject of these two plays was is not 
to be discovered. It is possible that they w^ere based, like the 
Six Yeomen, on Deloney's Thomas of Reading. Certainly 
there is in this work enough material to furnish the basis for 
all four plays. In any event, what we have in one or all is an 
attempt to dramatize this popular ' novel ' of the day just as 

1 The Works of Thomas Deloney, ed. F. 0. Mann, Oxford, 1912, pp. 
211-272. The earliest known edition of Deloney's tale dates from 1623, 
but the work was certainly known much earlier. Kempe, early in 1600, 
alludes to it in his Nine Dayes Wonder. 

^ For the entries of all these plays, see Diary, Ff. 87-100, passim. 


we dramatize novels to-day and just as another novel of De- 
loney's, The Gentle Craft, had been so successfully dramatized 
two years before in The Shoemakers' Holiday. 

Friar Rush and the Proud Woman of Antwerp would seem 
to have been written by Day and Haughton at irregular inter- 
vals during the latter half of 1601. The entries extend from 
4 July to 29 Nov.; and on 21 Jan. 1602 Chettle was paid ten 
shillings for " mending " the piece, presumably for the court. 
The familiar story of Friar Rush had been used more than 
once in Elizabethan drama. From an allusion in Gammer 
Gurton's Needle (III, ii) it would seem that it had been 
dramatized even at that early date, and later it was used by 
both Dekker and Jonson.^ But the Friar Rush story as gen- 
erally known has nothing to do with a proud woman, and 
Fleay has expressed the opinion that " The Proud Woman of 
Antzi'erp was a separate play by Chettle alone "," presumably 
meaning, as Greg remarks, " by Haughton ".^ Professor 
Herford,* however, has suggested that the dramatists com- 
bined with the Friar Rush plot the story of Belphegor, which 
had already been treated on the stage.' Alore recently Prof. 
Creizenach " has gone one step further and made the rather 
plausible suggestion that a source of the play was a story told 
by Stubbes in his Anatomy of Abuses.'' 

1 // It Be Not Good and The Devil Is An Ass. For a discussion of the 
Friar Rush story in Elizabethan drama, see Herford, C. H., Studies in 
the Literary Relations of England and Germany in the Sixteenth Century, 
pp. 293 ff. 

'^ Drama, I, 108. 

^ Diary, II, 218. 

*Lit. Rel., pp. 308-9. 

6 See above, p. 74 and Schelling, Elis. Drama, I, 356-7- 

* Geschichte des Neueren Dramas, IV, 243. 

^ "And amongest many other fearfull examples of Gods wrathe against 
Pride, to sett before their eyes, the fearfull Judgement of God, shewed 



It would be a cheerful bit of irony if Stubbes were used as a 
source for an amusement he so violently attacked, but since 
the play is not extant it would be foolish to do more than call 
attention in passing to this interesting suggestion. 

Haughton's last play was an unaided piece called IVilHam 
Cartivright, for which he received fifty shillings 8 Sept. 1602. 
It has usually been said that in this piece he returned to the 

upon a gentlewoman of Eprautna [Antwerp] of late, euen the 27 of Maie 
1582, the fearful! sound whereof is blowen through all the worlde, and 
is yet fresh in euery mannes memorie. This gentlewoman beeyng a very 
riche Merchaunte mannes daughter : vpon a tyme was inuited to a Bridall, 
or Weddyng, whiche was solemnized in that Toune, againste whiche daie 
she made greate preparation, for the plumyng of her self in gorgious 
arraie, that as her body was moste beautifull, faire, and proper, so her 
attire in euery respecte might bee corespondent to the same. For the 
accomplishment whereof, she curled her haire, she died her lockes, and 
laied them out after the best maner, she coloured her face with waters 
and Ointmentes : But in no case could she gette any (so curious and 
daintie she was) that could starche, and sette her Ruffes, and Neckerchers 
to her mynde: wherefore sibe sent for a couple of Laundresses, who did 
the best thei could to please her humors, but in anywise thei could not. 
Then fell she to sweare and teare, to cursse and banne, castj'Ug the Ruffes 
vnder feete, and wishyng that the Deuill might take her, when she weare 
any of those Neckerchers againe. In the meane tyme (through the suffer- 
aunce of God) the Deuill, transformyng himself into the forme of a young 
man, as braue, and proper as she in euery poincte in outward appearaunce, 
came in, fainyng hymself to bee a woer or suter vnto her. And seyng 
her thus agonized, and in suche a peltyng chafe, he demaunded of her the 
cause thereof, who straight waie tolde hyni (as women can conceale no 
thj'ng that Heth vppon their stomackes) how she was abused in the 
settyng of her Ruffes, which thyng beeyng heard of hym, he promised 
to please her minde, and thereto tooke in hande the setting of her Ruffes, 
whiche he performed to her greate contentation, and likyng, in so muche 
as she lokyng her self in a glasse (as the Deuill bad her) became greatly 
inamoured with hym. This dooen, the yong man kissed her, in the doyng 
whereof, he writhe her necke in sonder, so she died miserably, her bodie 
bejTig Metamorphosed, into blacke and blewe colours, most vgglesome to 
behold, and her face (whiche before was so amorous) became moste de- 
formed, and fearful! to looke vpon." Stubbes, P., The Auatomie of 
Abuses {New Shakspere Soc. Pub., Series 6, No. 4, p. 71-2). 


murder play and dramatized a pamphlet of '' the cruel out- 
ragious Murder of William Storre, Minister and Preacher . . . 
by Francis Cartwright, one of his Parishioners." An account 
of the murder was published, according to Hazlitt/ in 1603 
and another in 161 3. Greg ^ casts doubt upon the supposition, 
pointing out that the murderer's name was Francis, not Wil- 
liam, and asserting that the account was not published until 
161 3. The two editions listed in Hazlitt, however, seem to be 
independent and different publications ; the former was printed 
at Oxford, the latter at London. I am by no means convinced 
that the account was not published, as the evidence seems to 
indicate, in 1603. Whether or not there was any connection 
between these pamphlets and Haughton's play is another mat- 
ter incapable, of course, of determination. 


Haughton as a Dramatist — Variety of his Productions — A Forerunner 
of Middleton — A Typical Playwright of the Henslowe Class. 

As we look back over the plays which Haughton wrote in 
the brief course of his dramatic career the list reveals a sur- 
prising variety of subjects. He apparently turned his hand 
with equal ease to almost any type of drama, and the number 
of types he tried is consequently large. He seems to have 
written in the fashion of the moment and to have changed as 
often as the fashion changed. When towards the end of 1599 
the murder play attained a renewed vogue, he wrote Thomas 
Merry and Co.v of Collumpton; when towards the end of the 
century the pastoral fad touched the drama, he wrote the 
Arcadian Jlrgin; after Chettle and Munday had aroused in- 
terest in the story of Robin Hood, he produced his play of 

1 Handbook, pp. 336, 408. 
-Diary, 11, 224. 



Robin Hood's Pcn'ortlis; and so the list might be continued 
until mention had been made of his plays on foreign history, 
on subjects drawn from folk-lore and magic, the Bible, and 
numerous other sources. He was particularly fond of the 
drama of contemporary incident, the journalistic drama, and in 
this we again see him in the role of an opportunist. But 
eclectic as he was in his practice and prone as he was to follow 
the fashion of the day, he was by no means incapable of strik- 
ing out new paths for himself and undertaking types not yet 
attempted. His Englishmen for My Money not only gave to 
English drama a new variation of plot, but it added a new 
type of play, the comedy of London life. We have in Haugh- 
ton a dramatist who tried everything with apparent careless- 
ness, who succeeded without effort, and whose mind was yet 
capable, when he chose to give it free rein, of work notable 
for its novelty and originality. 

To generalize about Haughton's art is not easy since we 
have so little material to base our observations upon. So far 
as the limitations of our knowledge permit, however, w^e see 
in Haughton chiefly the first notable example of the kind of 
drama later so cultivated by Middleton. In the latter's come- 
dies, as Professor Schelling has said, " recur again and again 
the young spendthrift, going the pace, eternal darling of those 
who delight in the theatre; the usurious money-lender whom 
we laugh to see hoist with his own petard ; uncles and fathers 
duped, . . . fools despoiled and abused; and wit forever tri- 
umphant ".^ All this is to be found already present in Eng- 
lishmen for My Money. Haughton's art is not romantic and 
his attitude is not that of the moralist. In this and other re- 
spects, too, he suggests Middleton. His realism, his worldli- 
ness, the absence of poetry from his work, his content to look 
at the world as it is and to make laughter out of the daily life 

1 English Literature during the Lifetime of Shakespeare, 1910, pp. 186-7. 


about him — all these things are as typical of ]Mi(idleton as of 
Haughton. Haiighton differs slightly from Middleton in the 
absence of the satirical — or should we say cynical ? — purpose. 
He portrays simply and realistically the world and the world's 
follies because they are subjects of laughter and comedy; 
Middleton treats the follies of mankind satirically, not, it is 
true, because they are not moral, but because they are foolish. 
Next to Middleton, Haughton is most likely to be thought of 
in connection with Dekker. Yet such a comparison cannot but 
be to the former's disadvantage. There was, we feel, in the 
character of Dekker a certain grace and charm and kindliness 
which we cannot perceive in Haughton. It is possible that we 
are doing the latter an injustice in denying these qualities to 
him on the strength of only his first play. But in this play 
there is a worldly attitude, none too moral as it is none too 
sympathetic, which fails to draw us particularly to the author. 
In Dekker's plays, especially in the Shoemakers' Holiday, there 
is a spirit which pervades the work, that radiates from the 
man and is responsible, one feels, for not a little of the play's 
charm. Leaving such comparisons aside, however, we recog- 
nize in Haughton a briskness and vivacity, a humor boisterous 
at times yet merry withal, and a homely realism and truth to 
life that sorted well with the audience for which he wrote. 

In conclusion, we have in Haughton a man in every way 
typical of the Henslowe class of playwrights. Able, facile 
and business-like, he has the air of competence characteristic 
of the professional as opposed to the amateur. With an in- 
exhaustible store of material and an unusual capacity for work, 
he is characteristically the fertile maker of ' popular ' plays, 
productive of temporary success and immediate financial re- 
turn. Writing in haste for the present and with no concern 
for the future, he is sharply distinguished from such a man as 
Ben Jonson, who consciously produced ' literature ', spent a 



year upon a play, and was careful to publish his work during 
his lifetime in an authoritative edition for the discerning. But 
in the face of circumstances so destructive of good work, 
Haughton succeeded in producing one play of permanent value 
and in influencing considerably the course of the drama of his 
day. Together with Chettle, Day and Dekker, his most fre- 
quent collaborators, he completes during the last years of the 
sixteenth century the most characteristic group of playwrights 
in Henslowe's employ. In this group he is certainly not the 
least notable, and in the history of the Elizabethan drama his 
place must always remain one of real interest and importance. 


Three quartos of Englishmen for My Money exist, dated 1616, 
1626 and 163 1. Gayley is mistaken in thinking there are four 
old editions {Rep. Eng. Com., II, xxix), and Baker (I, 313) and 
Jacob (II, 310) are in error in listing editions of 1578 and 1656 
respectively. In the preparation of the present edition two 
copies of the first quarto, two of the second and five of the third 
have been used. Of the 1616 quarto the copies collated are: (i) 
one in the collection of Mr. William A. White, of New York (re- 
ferred to as W : it may be identified by the 1874 book-plate of 
Locker-Lampson) ; and (2) a copy in the Barton collection in 
the Boston Public Library (referred to as B: it contains the 
armorial book-plate of William Holgate). Reference has also 
been made to the British Museum specimen as reproduced in 
facsimile by Farmer {Students' Facsimile Series; referred to as 
B]\I). Of the 1626 quarto, both copies used are in the possession 
of Mr. Henry E. Huntington, of New York. The first, referred 
to as H, is a large, finely-preserved copy that can be distin- 
guished by the ex-libris of Robert Hoe in the cover. The other, 
referred to as H2, is a smaller, closely-trimmed copy, formerly 
in the possession of Mr. C. Bohn Slingluff (signature on fly-leaf) 
and of Mr. Beverly Chew (ex-Hbris on inside of cover). Of the 



third quarto, most use has been made of the copy m the library 
of the University of Pennsylvania (referred to as P). The 
four other copies used are all in the library of Air. Huntington : 
(i) that referred to as H3 (containing the Jester book-plate of 
Locker-Lampson) ; (2) that cited as H4 (containing the ex-libris 
of Robert Hoe) ; (3) one called H5 (containing the ex-libris of 
]\Ir. Beverly Chew) ; and (4) a copy referred to as H6 (for- 
merly in the possession of John P. Kemble and later in the col- 
lection of the Duke of Devonshire). In this copy each page has 
been cut out and mounted in the manner common to books from 
the Kemble-Devonshire collection. The copy is especially useful 
because of its clean presswork. Letters and punctuation marks 
which have failed to print in other specimens are frequently 
found fully impressed in H6. This is, of course, due merely to 
the accidental circumstance that in gathering the sheets for this 
copy the printer happened to get well-printed ones. 

The play was reprinted in the first volume of a collection called 
The Old English Drama, London, Thomas White, 1830, and the 
text and apparatus of this edition were reproduced in the 1874 
Dodsley, vol. X. More recently the 1616 quarto has been re- 
printed by the Malone Society, [1913 for] 1912. All of these 
editions have been compared with the present text, but variants 
are not recorded. The first two are modernized editions and not 
always trustworthy. The last is a careful reprint containing but 
few slips. To justify the reading of the text here presented it 
may be noted that errors occur in lines 442, 824, 1310, 1413. 1427, 
1464, 1477, 2142 and 2598 (= !Malone Soc. numbers 458, 848, 
1349, 1455, 1471, 1509, 1522, 2210, 2680). Unrecorded variants 
between BM and the Malone Soc. reprint occur at lines 318, 351, 
2446 (== 327, 362, 2523) and in the list of doubtful readings 
" Heighun " should be "Heightm " (Mai. Soc. 454). 

The present text is almost an exact reprint of Oi in spelling, 
punctuation, capitalization, line division, etc. It has been made 
up on the basis of forms. A comparison of B and W, BM and 
the Bodleian copy (as recorded in the variants of the Malone 
Soc. reprint) shows that B has an uncorrected outer form in 



sheet B (318, 351, 438 s. d., 442) ; and that W has an uncor- 
rected inner form in sheet F (1495), ^^ sheet G (1744), and in 
sheet K (2543). Other variations between B and W occur at 
lines 1704, 2069, 2078 and 2446, but they are due probably to 
faulty impression rather than to actual correction by the printer. 
In only a few cases have readings of O2 and O3 been substituted 
for the readings of Qi. Wherever the text of Qi has been de- 
parted from, the departure is recorded in the notes. The dis- 
tinction of roman, italic and black-letter type has been preserved 
except in the punctuation. Here, where the kind is often diffi- 
cult to detect, the quartos have been adhered to only so far as 
was practicable. Long " s " has been replaced by the modern 
form and the difference between ornamental and plain charac- 
ters of the italic font has been ignored. The line division of the 
first quarto has with few exceptions been kept, but no at- 
tempt has been made to reproduce the spacing of the old copies. 
The piece has been divided into acts and scenes, and a few neces- 
sary stage directions have been added — all in brackets. In the 
full critical apparatus accompanying the text all cases in which 
the second or third quartos show variation from the first have 
been noted. Dift'erences in the kind of type have not been noted 
for the punctuation. In the references to the quartos, the abbre- 
viation " Q3 " indicates that all copies of the third quarto agree; 
the designation " Q2, etc." signifies that all copies of the second 
and third quartos examined are alike in the reading recorded. 

Finally, the character and relation of the three quartos may be 
easily indicated. Oi represents the text in its most accurate form. 
From the stage directions at lines 772 and 1296 it might be in- 
ferred that the original from which the printer set his type was 
a stage version, but this evidence is hardly sufficient to establish 
the point. O2 was set up from Qi. This is evident from the 
repetition of errors in the original quarto. Although it offers 
many variant readings, chiefly in spelling, punctuation, etc., it is 
on the W'hole a careful and intelligent reproduction. O3 was set 
up from Q2, as may be seen from the many readings in w^hich it 
agrees with O2 but differs from Oi, and from the fact that it is 



a line-for-line copy of Q2. In a few cases Q3 agrees with Qi 
and not with Q2, but each of these cases can be ascribed to 
chance or can be otherwise reasonably accounted for. Q3 is a 
much less careful piece of work than Q2 ; occasionally whole 
lines are omitted, to the detriment of the sense. The differences 
between the quartos, however, concern for the most part spell- 
ingf, punctuation and typography. None of the later editions 
presents any notable textual variation from the first quarto. 

Since the Stationers' Register does not record any transfer of 
the rights of the play, the conditions under which these editions 
were published are, as Mr. Greg says, somewhat obscure, "for 
though Augustine Matthews is known to have had dealings with 
John White, the son and heir of William, in 1622, and with 
John Norton in 1624-6, no direct connexion is known between 
either John or William White and John Norton." One may go 
even further and doubt whether the 1626 edition really was 
printed by John Norton, in spite of the statement on the title- 
page. There is some reason to think that Augustine Matthews, 
printer of the 1631 edition, was also the printer of this. The 
device on the title-page (No. 238/^ in McKerrow, Publishers' 
Devices in Eyigland and Scotland, 1485-1640, London, 19 13) is 
one which, McKerrow suggests, probably " passed by way of 
William and John White to Augustine Mathewes in 1622". 
(On the relations of these men, see McKerrow, Dictionary , pp. 
188, 288). From 1624 to 1626 Matthews printed several books 
for John Norton {ibid., p. 188) and McKerrow suggests {Picb- 
lishers' Devices, p. 91) that since the two men seem to have been 
working in partnership at about this date, the 1626 edition of 
E7iglishmen for My Mojiey was printed for Norton by Augustine 
Matthews. The ornamental headpiece is the same as that used 
by Matthews in his 163 1 edition of the play. On the title-page 
of this edition the device is that of A. Hart, Edinburgh (McKer- 
row, No. 379) with the initials voided. It seems likely that 
from William White, who originally entered the play on the 
Stationers' Register, it passed to his son, John White, and from 
him to Augustine Matthews, who issued two editions, — one in 
1626 for John Norton, and the other for himself in 1631. 

For my Money: 


A pleafant Comedy, 


A Woman will haue her Will. 

Imprinted at London by W. White, 
dwelling in Cow-lane. 1616. 



For my Money: 

A pleafant Comedy 

A Woman will haue her Will. 

As it hath beene diuers times Adled 
with great applan/e. 

Printed by /. A^. and are to be fold by Hugh Perry at his 

Shop in Brittaines BurfTe at the figne of the Harrow. 1 626. 





A Woman vjtlt haue her Will 

As it hath beene diverfe times Adcd 

with g7'eat applaii/e. 

L O N D ON, 

Printed by A. M. and are to be fold by Richard 

Thrale^ at the Crofle-Keyes in Paules-Church- 
yard, neere Cheape-fide. 1 63 i . 


The AcSlors names. 

Pisaro, a Portingale. 

Laurentia, \ 

Marina, \ Pisaros Danghters. 

Mathea, ) 

Anthony y a Schoolemaister to them. 


Perdina?id, or Heigham, > Suters to Pisaros Daughters. 

- -. 4 

Ned, or Walgraue, ) 

Delion, a Frenchman, "j 

Aluaro, an Italian, \ Suters also to the 3. daughters. 

Vandalle, a Dutchman, J 

Frisco a Clowne, Pisaros man. 

M. Moore. 

Tower son a Marchant. 


Browne a Clothier 

A Post. 

A Belman. 

[For variant readings see notes at end of volume.] 

[Act I. Scene I. Before Pisaro's House.'] 
Enter PISARO. 


HOw smugge this gray-eyde Morning seemes to bee, 
A pleasant sight ; but yet more pleasure haue I 
To thinke vpon this moystning Southwest Winde, 
That driues my laden Shippes from fertile Spaine : 
But come what will, no Winde can come amisse, 5 

For two and thirty Windes that rules the Seas, 
And blowes about this ayerie Region; 
Thirtie two Shippes haue I to equall them : 
Whose wealthy f raughts doe make Pisaro rich : 
Thus euery Soyle to mee is naturall : 10 

Indeed by birth, I am a Portingale, 
Who driuen by Westerne winds on English shore, 
Heere liking of the soyle, I maried. 
And haue Three Daughters : But impartiall Death 
Long since, depriude mee of her dearest life: 15 

Since whose discease, in Lotidon I haue dwelt : 
And by the sweete loude trade of Vsurie, 

Q2 begins: A / PLEASANT COMEDIE / called, / A Woman will 
haue her Will. / Enter Pisaro. Q3 begins : A / PLEASANT COMEDIE / 
called, / A Woman will haue her will. / Enter Pisaro, 
I The * H ' covers only two lines in Q2 etc. bee] be : Qz 
4 Spaine] Spaine Qz 7 ayerie] ayrie Q2 etc. 
8 Thirtie] Thirty Q3 10 euery] every Q2, Soyle] soyle Q2 etc. 
10 mee] me Q2 etc. li Portingale] Portugale Q2 Portugale Q3 
12 driuen] driven Qt, winds] windes Q2 etc. 
12 English] English Q3 13 soyle] Soyle Q2 
14 Three] three Q3 Death] death Q3 15 mee] me Q2 etc. 

16 London] London Q3 

17 sweete] sweet Q2 etc. Vsurie] Vsurie Q3 



Letting for Interest, and on Morgages, 

Doe I waxe rich, though many Gentlemen 

By my extortion comes to miserie : 20 

Amongst the rest, three English Gentlemen, 

Haue pawnde to mee their Liuings and their Lands : 

Each seuerall hoping, though their hopes are vaine, 

By mariage of my Daughters, to possesse 

Their Patrimonies and their Landes againe : 25 

But Gold is sweete, and they deceiue them-selues; 

For though I guild my Temples with a smile, 

It is but Iiidas-Ukt, to worke their endes. 

But soft, What noyse of footing doe I heare? 

Enter Laurentia, Marina, Mathea, and Anthony. 

Laur. Now Maister, what intend you to read to vs ? 30 

Anth. Pisaro your Father would haue me read morall Phi- 

Mari. What's that? {losophy. 

Anth. First tell mee how you like it f 

Math. First tell vs what it is. 

Pisa. They be my Daughters and their Schoole-maister, 35 
Pisaro, not a word, but list their talke. 

Anth. Gentlewomen, to paint Philosophy, 
Is to present youth with so sowre a dish, 

18 Interest] interest Q3 20 comes] come Q3 

20 miserie] misery Q3 21 rest,] rest Q3 English] English Qs 

22 mee] me Q3 Liuings . . . Lands] livings . . . lands Q3 

23 seuerall] severall Q3 24 Daughters,] Daughters Qs 

25 Landes] Lands Q2 lands Q3 26 sweete] sweet Q2 etc. 

26 them-selues] themselues Q3 27 guild] gilde Q3 
28 endes] ends Q2 etc. 29 But] B cut off in W 

30 Maister] Master Q3 read] reade Q2 etc. \sf] vs: Q3 

31 read] reade Q2 etc. 32 Philosophy] Philosophy Q3 
33 mee] me Q3 

35 Daughters] daughters Q3 Schoole-maister] Schooleemaister Q2 
Schoolemaster Q3 37 Philosophy] Philosophy Q3 38 Is] I cut off in \V 



As their abhorring stomackes nill digestes. 

When first my mother Oxford ( England s pride) 40 

Fostred mee puple-hke. with her rich store, 

My study was to read Philosophy: 

But since, my head-strong youths vnbridled will. 

Scorning the leaden fetters of restraint. 

Hath prunde my fea[t]hers to a higher pitch. 45 

Gentlewomen, Morall Philosophy is a kind of art, 

The most contrary to your tender sexes ; 

It teacheth to be graue : and on that brow, 

Where Beawtie in her rarest glory shines, 

Plants the sad semblance of decayed age : 50 

Those Weedes that with their riches should adarne, 

And grace faire Natures curious workmanship, 

Must be conuerted to a blacke fac'd vayle, 

Griefes liuerie, and Sorrowes semblance : 

Your food must be your hearts aboundant sighes, 55 

Steep'd in the brinish licquor of your teares : 

Day-light as darke-night, darke-night spent in prayer : 

Thoughts your companions, and repentant mindes. 

The recreation of your tired spirits : 

39 stomackes] stomacks Q2 etc. nill] ill Q2, 

39 digestes] digests Qj etc. 40 mother] ^Mother Qz Oxford] Oxford Q3 

40 Englands] Englands Q3 41 mee puple-] me pupil- Q3 
42 study] studie Q2 etc. read] reade Q2 etc. Philosophy] 
Philosophy Q3 45 prunde] prund Q3 feahers] feathers Q2 etc. 
pitch.] pitch, Qs 

46 Morall Philosophy] morall Philosophy Q3 kind] kinde Q2 etc. 
49 Beawtie] Beautie Q2 Beauty Q3 SiWeedes] Weedes Q2 

52 workmanship] workemanship Q2 etc. 53 conuerted] converted Q3 

53 blacke fac'd] blacke-fac'd Q2 blacke-fac'd Q3 

54 liuerie,] livery Q3 55 food] foode Q2 etc. 

55 aboundant] aboudant Q2 abundant Q3 

56 brinish licquor] briuish lyquor Q2 brinish liquor Qs 

57 All hyphens except first omitted Q2 etc. 59 tired] tyred Q2 etc. 


Gentlewomen, if you can like this modestie, 60 

Then will I read to you Philosophy. 

Laur. Not I. 

Man. Fie vpon it. 

Math. Hang vp Philosophy, He none of it. 

Pisar. A Tutor said I ; a Tutor for the Diuell. 65 

Anth. No Gentlewomen, Anthony hath learn'd 
To read a Lector of more pleasing worth. 
Marina, read these lines, young Haruie sent them, 
There euery line repugnes Philosophy : 

Then loue him, for he hates the thing thou hates. 70 

Laurentia, this is thine from Ferdinande : 
Thinke euery golden circle that thou see'st, 
The rich vnualued circle of his worthe. 
Mathca, with these Gloues thy Ned salutes thee; 
As often as these, hide these from the Sunne, 75 

And Wanton steales a kisse from thy faire hand, 
Presents his seruiceable true harts zeale, 
Which waites vpon the censure of thy doome : 
What though their Lands be morgag'd to your Father ; 
Yet may your Dowries redeeme that debt : 80 

Thinke they are Gentlemen, and thinke they loue ; 
And be that thought, their true loues aduocate. 

60 Gentlewomen,] Gentlewomen Q3 modestie] Modesty Q2 modesty Q3 

61 read] reade Q2 etc. Philosophy] Philosophy Q3 
64 Philosophy] Philosophy Q3 65 Diuell] Divell Q3 

66 Gentlewomen] Gentiewomen Q^ 67 read] reade Q2 etc. 

67 worth] wo th Q2, 68 Haruie] Haruy Q2 Harvy Q3 

68 them,] them. Q2 etc. 69 euery] every Q3 

69 Philosophy] Phylosophy Qz Philosophy Q3 72 euery] every Q2, 
72 see'st] seest Q2 etc. 72 vnualued] vnvalued Q2, 

7Z worthe] worth Q2 etc. 75 these,] these Qj, 76 Wanton] wanton Qz etc. 
77 seruiceable] serviceable Q3 harts] hearts Qz etc. 
79 Lands] lands Q2, 80 debt] dept Qz 82 aduocate] Aduocate Q2 
Advocate Q3 


Say you should wed for Wealth ; for to that scope 
Your Fathers greedy disposition tendes, 

The world would say. that you were had for Wealth, 85 

And so f aire Beawties honour quite distinct : 
A masse of Wealth being powrde vpon another, 
Little augments the shew, although the summe ; 
But beeing lightly scattred by it selfe. 

It doubles what it seem'd, although but one : 90 

Euen so your selues, for wedded to the Rich, 
His stile was as it was, a Rich man still : 
But wedding these, to wed true Loue, is dutie : 
You make them rich in W^ealth, but more in Beawtie : 
I need not plead, that smile shewes hearts consent ; 95 

That kisse shew'd loue, that on that gift was lent : 
And last thine Eyes, that teares of true ioy sendes, 
As comfortable tidings for my friends. (procure, 

Mari. Haue done, haue done ; what need'st thou more 
When long ere this I stoop'd to that f aire lure : 100 

Thy euer louing Haniie I delight it : 
Marina euer louing shall requite it. 
Teach vs P kilos phyl He be no Nunne; 

83 Wealth] wealth Q2 etc. scope] scope, Q2 etc. 

84 tendes] tends Q2 etc. 85 Wealth] wealth Q3 

86 Beawties] Beauties Q2 beauties Q3 87 powrde] pour'd Q2 etc, 

87 another] an other Q2 etc. 88 summe;] summe: Q2 etc. 

89 beeing] being Q2 etc. 91 Euen] Even Q3 92 Rich] rich Q3 

94 Beawtie] Beautie Q2 Beauty Q3 

95 All Qq read : I need not plead that smile, that smile shewes 

95 In Qi ' consent' is divided, ' con-' concluding 1. 95 and ' sent; ' appearing 
on the line below. 

97 Eyes,] Eyes P H4 sendes.] sends. Q2 etc. 

98 procure] procures Q2 etc. lOi euer louing] euer-louing Q2 
ever-loving Q3 Haruie] Harvie Q3 102 euer louing] ever loving Q^ 
102 Qi reads : Marina euer louing shall requite it young, it.] it Q2 

102 young.] Omitted Qz etc. 103 PhUosphy] Philosophy Q3 

103 Xiinne] Xunne Q3 


Age scornes Delight, I loue it being [young] ; 

There's not a word of this, not a words part, 105 

But shall be stamp'd, seal'd, printed on my heart ; 

On this He read, on this my senses ply : 

All Arts being vaine, but this Philosophy. 

Laur. Why was I made a Mayde, but for a ]Man/' 
And why Laurcntia, but for Ferdinand? no 

The chastest Soule these Angels could intice ? 
jMuch more himself e, an Angell of more price : 
were't thy selfe present, as my heart could wish, 
Such vsage thou shouldst haue, as I giue this. 

Anth. Then you would kisse him ? 115 

Laur. If I did, how then/* 

Anth. Nay I say nothing to it, but Amen. 

Pisa. The Clarke must haue his fees. He pay you them. 

Math. Good God, how abiect is this single life. 
He not abide it; Father, Friends, nor Kin, 120 

Shall once disswade me from affecting [him] : 
A man's a man ; and Ned is more then one : 
Yfayth He haue thee Ned, or He haue none; 
Doe what they can, chafe, chide, or storme their fill, 
Mathea is resolu'd to haue her will. 125 

Pisa. I can no longer hold my patience. 
Impudent villaine, and laciuious Girles, 
I haue ore-heard your vild conuersions : 
You scorne Philosophy : You'le be no Nunne, 

104 Delight] delight Qz young inserted Q2 etc 

107 read] rcade Q2 etc. 108 Philosophy] Philosophy Q2, 

in Soule] soule Q^ 113 were't] Weer't Qz etc 

114 this.] this, Q2 117 I] I, Qz Amen] Amen Qz 

121 him inserted Q2 etc. 123 Yfayth] Yfaith Q3 

122, none;] none: Q2,. Q2 has turned; 124 can] cau Q3 

127 villaine] So Q2 etc. Qi has villanie 

127 laciuious] lascivious Q3 128 conuersions] conversions Qs 

129 Philosophy] Philosophy Q3 130 needes] needs Q2 etc. 



You must needes kisse the Pursse, because he sent it. 130 

And you forsooth, you liurgill, minion, 

A brat scant folded in the dozens at most, 

Youle haue your will forsooth; What will you hauef 

Math. But twelue yeare old ? nay Father that's not so, 
Our Sexton told mee I was three yeares mo. 135 

Pisa. I say but twelue : you'r best tell mee I lye. 
What sirra Anthony. Anth. Heere sir. 

Pisa. Come here sir, & you light huswiues get you in : 
Stare not vpon me, moue me not to ire : Exeunt sisters. 
Nay sirra stay you here. He talke with you : 140 

Did I retaine thee (villaine) in my house, 
Gaue thee a stipend twenty Markes by yeare, 
And hast thou thus infected my three Girles, 
Vrging the loue of those, I most abhord ; 
Vnthrifts, Beggers; what is worse, 145 

And all because they are your Country-men ? 

Anth. Why sir, I taught them not to keepe a Marchants 
Booke, or cast accompt : yet to a word much like that 
word Accounte. 

Pisa. A Knaue past grace, is past recouerie. 150 

Why sirra Frisco, Villaine, Loggerhead, where art thou.^ 

Enter Frisco, the Clowne. 

Frisc. Heere's a calling indeed ; a man were better to 
Hue a Lords life and doe nothing, then a Seruing creature, 
and neuer be idle. Oh Maister, what a messe of Brewesse 

130 Pursse] Purse Q2 etc. 133 Youle] You'le Q2 etc. 

134 nay] nay, Q3 yeare] yeere Qt, I35 mee] me Q3 yeares] yeres Q3 

136 mee] me Q2 etc. 138 &] and Q3 139 moue] mooue Qz 

142 yeare] yeere Q2, Gaue] Giue Q2 etc. 149 Accounte] Account Q2 

account Q3 150 recouerie] recovery Q3 

151 Loggerhead] Logger head Q3 152 Frisc] Fris. Q2, 

153 Seruing] seruing Q2 serving Q2, 154 neuer] never Q3 

154 Maister] Master Q3 


standes now vpon the poynt of spoyling by your hasti- 155 
nesse; why they were able to haue got a good Stomacke 
with child euen with the sight of them ; and for a Vapour, 
oh precious Vapour, let but a Wench come neere them 
with a Painted face, and you should see the Paint drop and 
curdle on her Cheekes, like a peece of dry Essex Cheese 160 
toasted at the fire. 

Pisa. Well sirra, leaue this thought, & minde my words, 
Giue diligence, inquire about 
For one that is expert in Languages, 

A good Musitian, and a French-man borne; 165 

And bring him hither to instruct my Daughters, 
He nere trust more a smooth-fac'd English-man. 

Frisc. AVhat, must I bring one that can speake Langua- 
ges? what an old Asse is my Maister; why he may speake 
flaimte taimte as well as French, for I cannot vnderstand 

him. 170 

Pisa. If he speake French, thus he will say, Awee awee : 
What, canst thou remember it? 

Frisc. Oh, I haue it now, for I remember my great 
Grandfathers Grandmothers sisters coosen told mee, that 
Pigges and French-men, speake one Language, awee awee ; I 175 
am Dogg at this : But what must he speake else ? 

Pisa. Dutch. Frisc. Let's heare it? 

Pisa. Haunce biittcrkin slozcpin. 

155 standes] stands Q2 etc. 

155 poynt] point Q2 157 child] child, Q2 etc. euen] even Q3 

159 Painted Paint] painted paint Q3 

162 minde] mind Q2 etc. 165 Freuch-man] French-man Q3 

167 nere] ne're Q2 etc. Euglish-man] Englishman Q2 English-man Q3 

169 Maister] Master Q2 etc. he] hee Q2 etc. 

170 French] French Q3 him.] him Q3 171 French] French Q3 

171 he] hee Q3 175 French-men] French men H. French-men Qs 
awee] awee, Q3 177 Dutch.] Dutch, Q2 Dutch. Q3 Frisc] Frisc, Q3 


Fris. Oh this is nothing, for I can speake perfect Dutch 
when I list. 180 

Pisa. Can you, I pray let's heare some? 

Frisc. Nay I must haue my mouth full of Meate first, 
and then you shall heare me grumble it foorth full mouth, 
as Hauncc Buttcrkin slozvpin frokin: No, I am a simple Dutch- 
man: Well, He about it. 185 

Pisa. Stay sirra, you are too hastie ; for hee must speake 
one Language more. 

Frisc. More Languages.^ I trust he shall haue Tongues 
enough for one mouth : But what is the third ? 

Pisa. Italian. 1 90 

Fris. Why that is the easiest of all, for I can tell whether 
he haue any Italian in him euen by looking on him. 

Pisa. Can you so, as how ? 

Frisc. ]\Iarry by these three poynts ; a \\^anton Eye, 
Pride in his Apparell, and the Diuell in his Countenance. 195 
Well, God keepe me from the Diuel in seeking this French- 
man : But doe you heare mee Maister, what shall my fel- 
low Anthony doe, it seemes he shall serue for nothing but to 
put Lattin into my young ]\Iistresses. Ea-H Frisco. 

Pisa. Hence asse, hence loggerhead, begon I say. 200 

And now to you that reades Philosophy, 
Packe from my house, I doe discharge thy seruice, 

179 Fris.] Frisc. Q2. Dutch] Dutch Q3 

181 you,] you? Q3 some?] some. Q3 182 Nay] Nay, Q2 etc. 

182 Aleate] meate Q3 183 me] mee Q3 184 Dutch-] Dutch Q2 Dutch Q3 
185 man] man Q3 In Qi the m is turned. 186 hee] he Q2 

188 he] hee Q3 190 Italian] Italian Q3 192 Italian] Itahan Q3 
192 euen] even Q3 195 Diuell] Divell Q3 196 keepe] keep Q2 etc. 

196 Diuel] Divel Q;i 196-7 French-man] French-man Q^ 

197 Maister] Master Q3 mee] me Q2 etc. 198 he] hee Q2 etc. 

199 Lattin] Latine Q3 young] yongue Q3 Mistresses.] Mistresses : Q2 etc, 
Frisco.] Frisco Q2 etc. 201 Philosofhy] Philosophy Q3 


And come not neere my dores; for if thou dost, 
He make thee a pubhke example to the world. 

Antho. Well crafty Fox, you that worke ])y wit, 205 

It may be, I may Hue to fit you yet. Exit Antho. 

Pisa. Ah sirra, this tricke was spide in time, 
For if but two such Lectures more they'd heard, 
For euer had their honest names been marde : 
He in and rate them : yet that's not best, 210 

The Girles are wilfull, and seueritie 
May make them carelesse, mad, or desperate. 
What shall I doe? Oh.' I haue found it now, 
There are three wealthy Marchants in the Towne, 
All Strangers, and my very speciall friendes, 215 

The one of them is an Italian: 
A French-man, and a Dutch-man, be the other: 
These three intyrely doe affect my Daughters, 
And therefore meane I, they shall haue the tongues. 
That they may answere in their seuerall Language : 220 

But what helpes that? they must not stay so long, 
For whiles they are a learning Languages, 
My English Youths, both wed, and bed them too.* 
Which to preuent, He seeke the Strangers out. 
Let's looke : tis past aleauen, Exchange time full, 225 

203 dores;] doores : Q2 etc. dost] doest Q2 etc. 

207 sirra] sirrah Q2 etc. 208 they'd] theyd Q2 etc. 

209 been] beene Q2 bin Qi 211 seueritie] seueritie, Q2 seuerity Q3 

212 mad]maddeQ2 214 Marchants] Merchants Q2etc. Towne,] Towne. Q2 etc. 

215 friendes] friends Q2 etc. 216 Italian:] ItaHan: Q2 

217 French-man] French-man Q3 DuUh-man] Dutch-man Qs 

218 intyrely] intirely Q3 Daughters] daughters Q3 

219 I,] I Q3 221 helpes] helps Q2 etc. long.] long: Q2 etc. 

222 Languages] languages Q2 etc. 

223 Youths,] Youthes, Q2 Youthes Q3 wed,] wed Q2 etc. 

224 preuent,] preuent Q2 etc. 225 aleauen] a leauen Q2 etc. 


There shall I meete them, and conferre with them, 

This worke cranes hast, my Daughters must be Wedde, 

For one Months stay, sayth farrewell ]\Iayden head. 


[Scene II. The Sauic.^ 

Enter Haruie, Heigham, 
and Walgraue. 

Heigh. Come Gentlemen, w'are almost at the house, 
I promise you this walke ore Tower-hill, 230 

Of all the places London can afforde, 
Hath sweetest Ayre, and fitting our desires. 

Ham. Good reason, so it leades to Croched-Fryers 
Where old Pisaro, and his Daughters dwell, 
Looke to your feete, the broad way leades to Hell : 235 

They say Hell standes below, downe in the deepe. 
He downe that Hill, where such good Wenches keepe, 
But sirra Ned, what sayes Mathea to thee ? 
Wlltfadge? wilt fadge? What, will it be a match ? 

JValg. A match say you ? a mischiefe twill as soone: 240 
Should I can scarce begin to speake to her, 
But I am interrupted by her father. 
Ha, what say you ? and then put ore his snoute, 

226 meete] meet Q2 etc. 227 Wedde] Wed Qs Months] monthes Q2 etc. 
228 sayth farrewell Mayden head] then farewell Mayden-head Q2 etc. 
228 head.] head Q2 

228 s. d. Haruie] Haruy Q3 Walgraue] Walgraue Q2, 

229 Heigh] Hoigh Q2 230 ore Tower-hill] ore the Tower-hill Q2 etc. 
231 afforde] affoord Q2 etc. 233 Croched-Fryers] Croched Fryers, Q2 etc. 
234 Daughters] daughters Q3 dwell,] dwell ; Q2 etc. 

236 standes] stands Q2 etc. 

237 Hill] Hell Qs Wenches] wenches Q2 etc. 240 you?] you; Q2 etc. 

241 Should I can scarce] For I can scarse Q2 etc. 

242 father] Father Q2 etc. 243 snoute] snout Q2 etc. 


Able to shaddow Pozvles, it is so great. 

Well, tis no matter, sirrs, this is his House, 245 

Knocke for the Churle bid him bring out his Daughter; 
He, sbloud I will, though I be hanged for it, 

Heigh. Hoyda, hoyda, nothing with you but vp & ride, 
Youle be within, ere you can reach the Dore, 
And haue the Wench, before you compasse her: 250 

You are too hastie, Pisaro is a man. 
Not to be f edde with W^ords, but wonne with Gold. 
But who comes heere.? 

Enter Anthony. 

Walg. Whom, Anthony our friend? 
Say man, how fares our Loues? How doth Mathea? 255 
Can she loue Ned? how doth she like my sute.^ 
Will old Pisaro take me for his Sonne ; 
For I thanke God, he kindly takes our Landes, 
Swearing, Good Gentlemen you shall not want. 
Whilst old Pisaro, and his credite holds : 260 

He will be damn'd the Roage, before he do't.? 

Haru. Prethy talke milder : let but thee alone, 
And thou in one bare hower will aske him more. 
Then heele remember in a hundred yeares : 

244 Powles] Panics Q2 etc. 245 sirrs] sirs Q2 etc. House] house Q3 

246 Churle] Churle, Q2 etc. Daughter] Daughters Q3 

247 He, sbloud I will] lie, that I will Q2 etc. it,] it. Q2 etc. 

248 Heigh.] Heig. Q3 & ride,] and ride; Q3 

249 Dore] doore Q2 etc. 251 too] to Q2 hastie] hasty Q2 etc. 

252 fedde] fed Q3 Words] words Q3 wonne] won Q3 

253 heere] here Q2 254 Whom,] Whom Q2 etc. 256 sute] suit Q2 etc. 

257 Sonne] sonne Q3 

258 Landes] Lands Q2 etc. 259 Good Gentlemen] good Gentlemen, Q2 etc. 

260 credite] credit Q2 etc. holds] hold Q3 

261 damn'd the Roage,] damn'd, the Rogue Q2 etc. 

263 hower] houre Q2 etc. will] wilt Q3 264 a] an Q2 etc. 

264 hundred] hundrd Q3 yeares] yeeres Q3 



Come from him Anthony, and say ^vhat newes? 265 

Antho. The newes for me is badd ; and this it is : 
Pisaro hath discharg'd me of his seruice. 

Heigh. Discharg'd thee of his seruice ; for what cause ? 

Anth. Nothing, but that his Daughters learne Philosophy. 

Ham. Maydes should reade that, it teacheth modestie. 270 

Antho. I, but I left out mediocritie. 
And with effectuall reasons, vrgd your loues. 

Walg. The fault was small, we three will to thy Maister 
And begge thy pardon. 

Antho. Oh, that cannot be, 275 

Hee hates you f arre worser, then he hates me ; 
For all the loue he shewes, is for your Lands, 
Which he hopes sure will fall into his hands : 
Yet Gentlemen, this comfort take of me. 
His Daughters to your loues affected be : 280 

Their father is abroad, they three at home, 
Goe chearely in, and cease that is your owne : 
And for my selfe, but grace what I intend. 
He ouerreach the Churle, and helpe my Frend. 

Heigh. Build on our helpes, and but deuise the meanes. 285 

Antho. Pisaro did commaund Frisco his man, 
(A simple sotte, kept onely but for myrth) 

266 Autho.] Anth. Q2 etc. badd] bad Q2 etc. 

267 seruice.] service, Q3 Heigh.] Heig. Q2 etc. seruice] service Q3 

269 Daughters] daughters Q3 learne] learn Q2 

270 Qi and Q2 read should reade, that it ... Q3 as above. 

271 Aittho.] Anth. Q2 etc. 273 Maister] Master Q2 Master, Q3 
274 begge] beg Q3. 275 Antho.] Anth. Q2 etc. 

276 Hee] He Q2 etc. farre] far Q3 277 Lands] lands Q3 

279 Gentlemen,] Gentlemen; Q2 etc. 280 Daughters] daughters Q3 

281 father] Father Q2 etc. abroad, they] abroad; They Q2 etc. 

282 chearely] cheerely Q2 etc. cease] ceaze Q3 

284 ouerreach] overreach Q3 Frend] friend Q2 etc. 

285 Heigh.] Heig. Q3 deuise] devise Q3 

286 commaund] command Q2 etc. 287 sotte] sot Q3 myrth] mirth Q2 etc. 


To inquire about in London for a man, 

That were a French-man and ]\Iusitian, 

To be (as I suppose) his Daughters Tutor: 290 

Him if you meete, as Hke enough you shall, 

He will inquire of you of his affayres ; 

Then make him answere, you three came from Paules, 

And in the middle walke, one you espide, 

Fit for his purpose; then discribe this Cloake, 295 

This Beard and Hatte : for in this borrowed shape, 

Must I beguile and ouer-reach the Foole : 

The Maydes must be acquainted with this drift. 

The Doore doth ope, I dare not stay reply, 

Least beeing discride : Gentlemen adue, 3CXD 

And helpe him now. that oft hath helped you. Exit. 

Enter Frisco the Cloivne. 

Wal. How now sirra, whither are you going? 

Fris. Whither am I going, how shall I tell you, when I 
doe not know my selfe, nor vnderstand my selfe.^ 

Heigh. What dost thou meane by that ? 305 

Frisc. Marry sir, I am seeking a Needle in a Bottle of 
Hay, a Monster in the liknesse of a ]\Ian : one that in stead 
of good morrow, asketh what Porrage you haue to Din- 
ner, Parley voussigniour? one that neuer washes his fingers, 
but lickes them cleane with kisses; a clipper of the Kings 310 

288 Lo;i(/o«] London Q3 289 French-man] Frcn£h-man,Q2 French-man, Q3 
290 Daughters] daughters Q2 2gi meete] meet Q2 etc. 
292 inquire] enquire Q2 etc. afifayres] affaires Q3 

295 discribe] describe Q2 etc. 296 Beard] Beard, Q2 beard, Q3 

296 Hatte] Hat Q3 297 beguile] beguile, Q2 etc. ouer-reach] over-reach Q^ 
298 Maydes] Maides Q3 299 Doore] doore Q3 

300 Least] Lent Q3 beeing] being Q2 etc. 301 now,] now Qz etc. 

302 IVai] Walg. Q2 etc. whither] whether Q2, 

303 Whither] Whether Q3 304 selfe.'] selfe: Q3 307 Monster] monster Q3 
307 liknesse] likenesse Q2 etc. 309 Parley] Parke Q2 etc. 

309 neuer] never Q^ fingers,] fingers Q2 etc. 310 lickes] licks Q2 etc. 


English : and to conclude, an eternall enemie to all good 

Hani. What's this? what's this.? 

Fris. Doe not you smell me ? Well. I perceiue that witte 
doth not always dwel in a Satten-dublet : why, tis a French- 315 
man, Bassinwn cue, how doe you.? 

Ham. I thanke you sir, but tell me what wouldest thou 
doe with a French-man ? 

Fris. Nay fayth, I would doe nothing with him, vn- 
lesse I set him to teach Parrets to speake : marry the old 320 
Asse my !\Iaister, would haue him to teach his Daughters, 
though I trust the whole world sees, that there be such in 
his house that can serue his Daughters turne, as well as the 
proudest French-man : but if you be good laddes, tell me 
where I may finde such a man? 325 

Heigh. We will, goe hye thee straight to Paules, 
There shalt thou find one fitting thy desire ; 
Thou soone mayst know him, for his Beard is blacke, 
Such is his rayment, if thou runn'st appace, 
Thou canst not misse him Frisco. 330 

Fris. Lord, Lord, how shall poore Phrisco rewarde 

311 enemie] enemy Q3 314 Fris.] Frisc. Qs witte] wit Q2 wit Qz 

315 alwaj-s] alwaies Q2 alwayes Q3 dwel] dwell Q2 etc. 

315 dublet] doublet Q2 etc. why] why Qz 

315-6 French-man] French viaii Q2 French man Q3 

317 Haru.] Heigh. Q3 but] But Q2 etc. 

318 Freuch-tnan] French man Q2 French man Q3 The punctuation at 
the end of this line z'arics: ? in W. .• in B . in Qz etc. 

319 Fris.] Frisc. Q3 faj1:h] faith Q2 etc. 

320 old] olde Q2 etc. 

321 Maister] Master Q2 etc. 324 French-man] French man Qs 

324 laddes] Laddes Q2 etc. where] where Q3 326 Paules] Paules 05"" ^ 
327 find] finde Q2 etc. 331 Fris.] Frisc. Q3 
331 Phrisco rewarde] Frisco reward Q2 etc. 


your rich tydings Gentlemen : I am yours till Shrouetew- 
esday, for then change I my Coppy, & looke like nothing 
but Red-Herring Cobbes, and Stock-Fish; yet He doe 
somewhat for you in the meane time: my Alaister is a- 335 
broad, and my young Mistresses at home : if you can doe 
any good on them before the French-man come, why so? 
Ah Gentlemen, doe not suffer a litter of Languages to 
spring vp amongst vs : I must to the Walke in Paules, you 
to the Vestrie. Gentlemen, as to my selfe, and so foorth. 340 

Exit Frisco, 
Haru. Fooles tell the truth men say, and so may he : 
Wenches we come now, Loue our conduct be. 
Ned, knocke at the doore : but soft f orbeare ; 

Enter Laivrentia, Marina, and Mathea. 

The Cloude breakes vp, and our three Sunnes appeare. 

To this I fly, shine bright my Hues sole stay, 345 

And make griefes night a gloryous summers day. 

Mori. Gentlemen, how welcome you are here, 
Guesse by our lookes, for other meanes by feare 
Preuented is : our fathers quicke returne 
Forbidds the welcome, else we would haue done. 350 

IValg. Mathea, How these fay th full thoughts obey. 

Mat. No more sweet loue, I know what thou would'st 

332-3 Shrouetewesday] Shroue-tewesday Q3 ZZZ &] and Q2 etc. 

334 Red-Herring Cobbes] Red-Herrring-Cobbes Q2 Red-Herring-Cobbes Qz 

335 Maister] Master Q2 etc. 2Z7 French-man] French man Q2 French- 
man Q2, Paules] Paules Q3 340 foorth] forth Q2 etc. 

340 s.d. Frisco,] Fris. Q2 Frisc. Q3 341 truth] truth, Q2 etc. 

342 t)e.] be, Q2 etc. 343 soft] soft, Q2 etc. 

343 s.d. Lawrcntia] Laurcntia Q2 etc. and] and Q2 etc. 

345 fly] flye Q2 etc. 346 gloryous summers] glorious Summers Q2 etc. 

349 Preuented] Prevented Q3 350 Forbidds] Forbids Q2 etc. 

351 IValg.] VValg. Q:i faythfull] faithfull Q2 etc. 

351 obey.] So in \V obey, B Q2 etc. 352 would'st] wouldst Q2 etc. 


You say you loue me, so I wish you still, (say : 

Loue hath loues hier, being ballancst with good will : 

But say; come you to vs, or come you rather 355 

To pawne more Lands for mony to our father ? 

[Laurentia & Heigham 
talk apart. 

I know tis so, a Gods name spend at large : 

What manf our mariage day will all discharge; 

Our father (by his leaue) must pardon vs. 

Age saue of age, of nothing can discusse : 360 

But in our loues, the prouerbe weele fulfill : 

Women and Maydes, must alwayes haue their will. 

Heigh. Say thou as much, and adde life to this Coarse, 
Law. Your selfe & your good news doth more enforce : 

How these haue set forth loue by all their witte, 365 

I sweare in heart, I more then double it. 

Sisters be glad, for he hath made it playne, 

The meanes to get our Schoole-maister againe : 

But Gentlemen, for this time cease our loues, 

This open streete perhaps suspition moues, 370 

Fayne we would stay, bid you walke in more rather, 

But that we feare the comming of our father : 

Goe to th'Exchange, craue Gold as you intend, 

354 loues] Loues Q3 hier] hire Q2 etc. ballancst] ballanc'st Q2 etc. 

356 mony] money Q2 etc. father] Father Q2 

358 mariage] marriage Q2 etc. 359 father] Father Q2 etc. 

360 Age] Age, Q2 etc. 361 prouerbe] Prouerbe Q2 etc. 

2,62 alwayes] alwaies Q2 etc. 363 Coarse,] Coarse. Q3 

364 Law.] Lawr. Q2 Laur. Q3 Your] You Qz 

365 forth] foorth Q2 etc. witte] wit Q2 etc. 

367 playne] plaine Q2 etc. 

368 Schoole-maister] Schoolemaster Q2 Scoolemaster Qz 

370 streete] street Q2 etc. 371 Fayne] Faine Q2 etc. 

371 would] would Q3 372 father] Father Q2 etc. 
273 intend] inteud Q2 


Pisaro scrapes for vs ; for vs you spend : 

We say farewell, more sadlier be bold, 375 

Then would my greedy father to his Gold : 

Wee here, you there, aske Gold ; and Gold you shall : 

Weele pay the intrest, and the principall. Exeunt Sisters 

Walg. That's my good Girles, and He pay you for all. 

Ham. Come to th' Exchange, and when I feele decay, 380 
Send me such Wenches, Heauens I still shall pray. Exeunt. 

[Scene III. The Exchange.^ 

Enter Pisaro, Delion the Frenchman, Vandalle the Dutchman, 
Aluaro the Italian, and other Marchants, at seuerall doores. 

Pisa. Good morrow, M. Strangers. 

Strang. Good morrow sir. 

Pisaro. This (louing friends) hath thus emboldned me. 
For knowing the affection and the loue 385 

Maister Vandalle, that you beare my Daughter : 
Likwise, and that with ioy considering too, 
you Moimsier Delion, would faine dispatch : 
I promise you, mee thinkes the time did fit. 
And does bir-Lady too, in mine aduice, 390 

This day to clap a full conclusion vp : 
And therefore made I bold to call on you. 
Meaning (our businesse done here at the Burse) 

375 sadlier] sadlier, Q2 etc. 

377 Wee] We Q3 378 intrest] int'rest Q2 etc. 

378 Sisters] Sisters. Q2 etc. 

381 Heauens] Heavens, Q3 Exeu)it.] Exeunt Q2 

381 s.d. Aluaro] Alvaro Q2, seuerall] scverall Q2, 

384 Pisaro.] Pisa. Q3 louing] loving Q3 385 loue] loue, Q2 etc. 

386 Maister] Master Q2 etc. Daughter] daughter Q3 

387 Likwise] Likewise Q2 etc. 388 you] You Q2 etc. 

389 mee] me Q2 etc. 390 aduice] advice Q3 393 Burse] Burse Q3 


That you at mine intreaty should walke home, 

And take in worth such Viands as I haue : 395 

And then we would, and so I hope we shall, 

Loosely tye vp the knot that you desire, 

But for a day or two ; and then Church rites 

Shall sure conforme, confirme, and make all fast. 

Vand. Seker IMester Pisaro, mee do so groterly dancke 
you, dat you macke mee so sure of de Wench, datt ic can 400 
neit dancke you genough. 

Dclio. ]\Ionsieur Pisaro, mon pere, mon Vadere, Oh de 
grande ioye you giue me (econte) mee sal go home to your 
House, sal eat your Bakon, sal eat your Beefe, and shal 
tacke de Wench, de fine Damoysella. 405 

Pisa. You shall, and welcome ; welcome as my soule : 
But were my third Sonne sweete Aliiaro heere, 
Wee would not stay at the Exchange to day. 
But hye vs home and there end our affayres. 

Enter Moore, and Towerson. 

Moore. Good day maister Pisaro. 410 

Pisa. IMaister Moore, marry with all my heart good 
morrow sir; What newes? What newesf 

Moore. This Marchant heere my friend, would speake 
with you. 

Tozi'er. Sir, this iolly South-west wind with gentle blast, 415 

394 intreaty] entreatie Q2 entreaty Qs 399 do] doe Qs 

400 mee] me Qs 402 Delia.] Delion. Q2 etc. Pisaro,] Pisaro Q3 pere] 

Pere Q2 etc. 

404 shal] shall Q2 etc. 407 Sonne sweete Aluaro] Sonne, sweet 

Aluaro,Q2 Sonne, sweet Akaro,Qs 408 Wee] We Q3 at the] at the the Q3 

408 day,] day. Q2 etc. 409 home] home, Q2 etc. 

410 day] day, Q2 etc. maister] Master Q2 M. Q3 

411 Maister] Master Q2 etc. 412 sir;] sir: Q3 

413 heere] heere, Q2 etc. 415 Tower.] Tow. Qs wind] wind, Q2 etc. 


Hath driuen home our long expected Shippes, 
All laden with the wealth of ample Spainc, 
And but a day is past since they ariude 
Safely at Plimmouth, where they yet abide. 

Pisa. Thankes is too small a guerdon for such newes. 420 
How like you this Newes friends ? Maister Vandalle, 
Heer's somewhat towards for my Daughters Dowrie : 
Heer's somewhat more then we did yet expect. 

Tower. But heare you sir, my businesse is not done; 
From these same Shippes I did receiue these lines, 425 

And there inclosde this same Bill of exchange, 
To pay at sight; if so you please accept it. 

Pisa. Accept it, why ? What sir should I accept, 
Haue you receiued Letters, and not I ? 

Where is this lazie villaine, this slow Poast? 430 

What, brings he euery man his Letters home, 
And makes mee no bodie; does hee, does hee.^ 
I would not haue you bring me counterfeit ; 
And if you doe, assure you I shall smell it.' 
I know my Factors writing well enough. 435, 

Tower. You doe sir ; then see your Factors writing : 
I scorne as much as you, to counterfeite, 

Pisa. Tis well you doe sir. 

416 driuen] driven Q3 Shippes] Ships Q3 417 Spaine] Spaine Q2, 
418 ariude] arriude Q2 arriu'de Q3 419 Plimmouth] Plimmouth Q2, 
421 Newes] newes, Q2 etc. 

421 friends] friend Q3 Maister] Master Q2 etc. 

422 Dowrie] dowry Q3 424 done] doue Q2 

425 Shippes] Ships Q3 lines] Lines Q2 etc. 

426 inclosde] inclos'd Q2 etc. exchange] Exchange Q2 etc. 

427 please] please, Q2 etc. 428 accept,] accept? Q2 etc. 

429 receiued] received Q3 430 slow] ssow Q3 Turned ? iti Ql 

431 euery] every Q3 432 mee] me Q2 bodie;] bodie? Q2 

432 And makes me no? body does he, does he? Qi 

436 doe] doe, Q2 etc. sir;] sir? Q3 writing:] writing, Q3 

437 counterfeite,] counterfeit. Q2 etc. 

438 Pisa.] Pisa, Q3 Tis] 'Tis Q2 doe] doe, Q2 etc. 



Enter Haruie, IValgrauc, and Hcighan. 

What Maister IValgrauc, and my other f rindes : 

You are growne strangers to Pisaros house, 440 

I pray make bold with me. 

JValg. I, with your Daughters 
You may be sworne, weele be as bold as may be. 

Pisa. Would you haue ought with me, I pray now speak. 

Heigh. Sir, I thinke you vnderstand our sute, 445 

By the repayring we haue had to you : 
Gentlemen you know, must want no Coyne, 
Nor are they slaues vnto it, when they haue : 
You may perceiue our minds ; What say you to't ? 

Pisa. Gentlemen all, I loue you all : 450 

Which more to manifest, this after noone 
Betweene the bowers of two and three repaire to mee; 
And were it halfe the substance that I haue, 
Whilst it is mine, tis yours to commaunde. 
But Gentlemen, as I haue regard to you, 455 

So doe I wish you'll haue respect to mee : 
You know that all of vs are mortall men, 
Subiect to change and mutabilitie ; 
You may, or I may, soone pitch ore the Pearch, 

438 s.d. Haruie] Harny Q3 and] and Q2 etc. Heighan] So in W 

Heighun B Heigham Q2 etc. 439 What Maister] What, Master Q2 

Pisa. What, M. Walgraue, Q3 f rindes:] friends, Q2 etc. 

440 Pisaro house,] Pisaro's house: Q2 etc. 441 with] with Q3 

442 Walg.] So in W Walsg. B and Q2 VValg- Q3 

442 with] with Q3 your] y our Qi 443 weele] week Q3 

447 Gentlemen] Gentlemen, Q2 etc. 448 when] when Q3 

449 minds] mindes Q2 etc. What] What Q2 

450 which] Which Q2 manifest,] manifest Q2 etc. 
452 howers] howres Q2 etc. mee] me Q2 etc. 

454 Whilst] Whilest Q2 Whilest Q3 commaunde] commande Q2 
command Q3 456 you'll] youle Q2 etc. mee] me Q2 etc. 


Or so, or so, haue contrary crosses : 460 

Wherefore I deeme [it] but meere equitie, 
That some thing may betwixt vs be to shew. 

Heigh. M. Pisaro, within this two months without faile. 
We will repay. 

Enter Browne. 

Browne. God saue you Gentlemen. 465 

Gentlemen. Good morrow sir. 

Pisa. What ]M. Brozvne, the onely man I wisht for. 
Does your price fall.^ what shall I haue these Cloathes? 
For I would ship them straight away for Stoade : 
I doe wish you my Alony fore another. 470 

Brow. Fayth you know my price sir, if you haue them. 

Pisa. You are to deare in sadnesse, maister Heigham : 
You were about to say somewhat, pray proceede. 

Heigh. Then this it was : those Landes that are not 
morgag'd 475 

Enter Post. 

Post. God blesse your worship. 

Pisaro. I must craue pardon ; Oh sirra, are you come.^ 

Walg. Hoyda, hoyda; Whats the matter now; 

461 Wherefore] Wherefore Q2 equitie] equity Q3 

462 some thing] something Q3 463 within] within Q2, ^ 

463 months] monthes Q2 moneths Q2, without] without Q^, 

464 We] We Q2 466 Gentlemen.] Gentel Q3 467 What] What Q2 

469 away] omitted Q2 etc. Stoade:] Stoade. Q2 Stoade: Q3 

470 Mony] money Q2 etc. 471 Broiv.] Browne Q2 

471 Fayth] Faith Q2 etc. you] y ou Q2 

472 maister] master Q2 M. Q^ 474 Landes] Lands Q2 etc. 
475 morgag'd] morgag'd. Q2 etc. 

475 s.d. Post.] Post, Q3 477 Pisaro.] Pisa. Q3 
pardon;] pardon: Q2 etc. 478 hoyda;] hoyda: Q2 etc. 
Whats] What's Q2 etc. now;] now? Q2 etc. 


Sure, yonder fellow will be torne in peeces. (about: 

Haru. Whats hee, sweete youths ; that so they flocke 480 
What old Pisaro tainted with this madnesse ? 

Heigh. Vpon my life, tis some body bringes newes; 
The Courte breakes vp, and wee shall know their Coun- 
Looke, looke, how busely they fall to reading. ( sell : 

Pisa. I am the last, you should haue kept it still : 485 

Well, we shall see what newes you bring with you; 
Our duty premised, and we haue sent vnto your worship 
Sacke, siuill Oyles, Pepper, Barbery sugar, and such other 
commodities as we thought most requisite, we wanted 
mony therefore we are fayne to take vp 200. 1. of Maister 490 
Towersotis man, which by a bill of Exchange sent to him, 
we would request your worship pay accordingly. 
You shall commaund sir, you shall commaunde sir, 
The newes here is, that the English shipes, the Fortune, 
your shipe, the aduenture and good lucke of London coa- 495 
sting along by Italy Tow^ards Turky, were set vpon by to 

479 peeces] pieces Q2 etc. 

480 Whats] What's Q2 etc. hee] he Q2 etc. sweete] sweet Q2 etc. 
youths;] youths, Q2 etc. 

about:] about? Q2 etc. 481 What] What, Q2 etc. 482 tis] 'tis Q2 etc. 
bringes newes;] brings newes: Q2 etc. 483 Courte] Court Q2 etc. 
wee] we Q2 etc. 484 busely] busily Q2 etc. 485 last,] last: Q2 etc. 
still:] still. Q2 etc. 486 you;] you: Q2 etc. 487 duty] dutie Q2 
premised,] premised ; Q2 etc. 488 siuill] Siuill Q2 Sinill Q3 
Barbery sugar] Barbary Sugar Q2 etc. 489 we] wee Q2 
requisite, we] requisite. Wee Q2 etc. 490 mony] money, Q2 etc. 
fayne] faine Qt, 200. 1.] 200. li. Q2 230. li. Q3 Maister] 
Master Q2 etc. 491 bill] Bill Q2 etc. 492 we] We Q2, accordingly.] 
accordingly Q3 

493 commaund] command Q2 etc. commaunde sir,] command sir. Q2 etc. 

494 shipes] ships Q2 etc. 495 shipe] ship Q2 etc. 

495 aduenture] Aduenture Q2 etc. good lucke] Good Lucke Q2 
Good-Lucke Q3 London] London, Q2 etc. 496 Italy] Italy Q^ 
Towards] towards Q2 etc. Turky] Turkie Q2 Turkie Q3 

to] two Q2 etc. 


Spanish-gallics, what became of them we know not, but 

doubt much by reason of the weathers calmnesse. 
Pisa[.] How ist six to one the weather cahne. 

Now afore God who would not doubt their safety, 500 

A plague vpon these Spanish-galli Pirattes. 

Roaring Caribdis, or deuowring SciUa, 

Were halfe such terrour to the anticke world, 

As these same anticke Villaines now of late, 

Haue made the Straights twixt Spaine and Barbary. 505 

Tower[.'\ Now sir, what doth your Factors letters sayf 
Pisa. Marrie he saith. these witlesse lucklesse doults, 

Haue met, and are beset with Spanish Gallies, 

As they did saile along by Italy : 

What a bots made the dolts neere Italy, 510 

Could they not keepe the coast of Barbary, 

Or hauing past it, gone for Tripoly, 

Beeing on the other side of Sicily, 

4Q7 Spatiish-gallies] Spanish-galleis Qi 

Spanish-galleyes: Q2 Spanish-galleyes : Q3 them] them, Q2 

not,] not; Q2 etc. 

498 much] much, Q2 etc. calmnesse] calmenesse Q2 etc. 

499 Pisa] Pisa. Q2 etc. ist] ist? Q2 etc. six] sixe Q3 

one] one, Q2 etc. calme,] calme: Q2 etc. 500 God] God, Q2 etc. 
safety,] safetie? Q2 safety? Qs 501 vpon these] So Q2 etc. vponthese 
Qi Spauisli-galli] Spanish-galli Q3 Pirattes] Pyrates Q2 etc. 

502 Caribdis] Carybdis Q2 etc. douowring] deuouring Q2 etc. 

503 terrour] terror Q2 etc. 

503 Were halfe] Were but halfe Q2 etc. terrour] terror Q2, 

504 late,] late Q2 etc. 

505 Straights tvixxi] Straits'i\\\x.tQ2 Straits 'twixt Q3 5/'ai>ir] Spaine Q3 
Barbary] Barbaric Q2 Barbarie Q3 Tou-er] Tozver. Q2 etc. 

506 letters] Letters Q2 etc. 507 Alarrie] Marry Q2 etc. 
doults,] doults Q2 etc. 508 Spanish] Spanish Q3 

509 saile] sayle Q2 etc. Italy:] Italy. Q2 Italy. Q3 

510 dolts] doults Q2 etc. Italy,] Italy!' Q2 Italy? Q3 

511 coast] Coast Q2 etc. Barbary.] Barbary? Q2 Barbary? Q3 

512 hauing] having Q3 Tripoly] Tripoly Q3 5^3 Beeing] Being Q2 etc. 
Sicily] Sicily Q3 


As neere, as where they were vnto the Straights: 

For by the Gloabe, both Tripoly and it, 515 

Lie from the Straights some tvventie fiue degrees ; 

And each degree makes three-score enghsh miles f 

Tozccr. Very true sir : But it makes nothing to my Bill 
of exchange : this dealing fits not one of your account. 

Pisa. And what fits yours ? a prating wrangling toung, 520 
A womans ceaselesse and incessant babling, 
That sees the world turnd topsie turuie with me ; 
Yet hath not so much witte to stay a while, 
Till I bemone my late excessiue losse. 

JValg. S'wounds tis dinner time. He stay no longer : 525 
Harke you a word sir. 

Pisa. I tell you sir, it would haue made you whine 
Worse then if shooles of lucklesse croking Rauens, 
Had ceasd on you to feed their f amisht paunches : 
Had you heard newes of such a rauenous rout, 530 

Ready to cease on halfe the wealth you haue. 

IVal. Sbloud you might haue kept at home & be hangd, 
What a pox care I. Enter a Post. 

Post. God saue your worship, a little mony and so forth. 

514 Straights] Straits Q2 Siraits Q3 515 Gloabe] Globbe Q3 

rn'/>o/j'] Tripoly Q3 516 Lie] Lye Q2 etc. Straights] Straits Q2 Straits Q3 

twentie] twenty Q3 degrees;] degrees, Q2 etc. 

517 three-score] threescore Q2 etc. english] English Q2 etc. milesf] 
miles. Q2 etc. 

518 exchange] Exchange Q2 etc. 520 toung] tongue Q2 etc. 
522 turnd] turn'd Q2 etc. topsie turuie] topsie-turuie Q2 
topsie-turvie Q3 me;] me, Q2 etc. 523 witte] wit Q2 etc. 

525 Walg.] Walg. Q2, S'wounds] 'Swounds Q2 etc. tis] 'tis Q2 etc. 

527 whine] whine, Q2 etc. 528 croking] croaking Q2 etc. 

Rauens,] Rauens Q2 Ravens Q3 529 ceasd] seiz'd Q2 etc. 

you] you, Q2 etc. paunches :] paunches, Q2 etc. 

530 rauenous] ravenous Q3 531 cease] seize Q2 etc. 

532 Sbloud] 'Sbloud Q2 etc. &] and Q2 etc. hangd] hang'd Q2 etc. 

534 little mony] littlemony Qi little mony. Q2 etc. 


Pisa. But men are sencelesse now of others woe, 535 

This stony age is growne so stony harted, 
That none respects their neighbours miseries, 
I wish (as Poets doe) that Saturnes times 
The long out worne world weare in vse againe, 
That men might sayle without impediment. 540 

Post. I marry sir that were a merry world indeede, I 
would hope to gette more mony of your worship in one 
quarter of a yeare, then I can doe now in a whole twelue- 
moneth. Enter Balsaro. 

Balsa. Maister Pisaro how I haue runne about, 545 

How I haue toyld to day to sinde you out. 
At home, abroade, at this mans house, at that, 
Why I was here an hower agoe and more, 
Where I was tould you were, but could not finde you. 

Pisa. Fayth sir I was here but was driuen home, 550 

Heres such a common hant of Crack-rope boyes, 
That what for f eare to haue m'apparell spoyld, 
Or my Ruffes durted, or Eyes strucke out : 
I dare not walke where people doe expect mee : 

535 senceless] senselesse Q2 etc. woe,] woe: Q2 etc. 

536 stony age] stonie age Q2 etc. stony] stonie Q2 
harted] hearted Q2 etc. 537 miseries,] miseries. Q2 etc. 

538 I] turned Q\ Saturnes] Saturnes Q2 H4 H5 H6 Saturnei H3 P 
times] times, Q2 etc. 539 out worne] out-worne Q2 etc. 
world] world, Q2 etc. weare] were Q2 etc. 541 sir] sir, Q2 etc. 
indeede,] indeede: Q2 indeed: Q3 542 gette] get Q2 etc. 
mony] money Q2 etc. 543 yeare] yeere Q3 

545 Maister Pisaro] Master Pisaro, Q2 etc. 

546 toyld] toyl'd Q2 etc sinde] finde Q2 etc. out,] out/ Q2 etc. 

547 abroade] abroad Q2 etc. that,] that. Q2 etc. 

548 hower] houre Q2 etc. agoe] agoe, Q2 etc. 549 tould] 
told Q2 etc. 550 Fayth] 'Fayth Q2 etc. here] here, Q2 etc. 
driuen] driven Q3 home,] home: Q2 etc. 551 Heres] Here's Q2 etc. 
hant] haunt Q2 etc. boyes] Boyes Q2 etc. 552 apparell] apparrell Q2 

spoyld] spoyl'd Q2 etc. 553 out :] out, Q2 etc. 554 mee] mee. Q2 me. Q3 



Well, things (I thiiike) might be better lookt vnto, 555 

And such Coyne to, which is bestowde on Knaues, 

Which should, but doe not see things be reformd, 

Might be imployde to many better vses : 

But what of beardlesse Boyes, or such like trash; 

The Spanish Gallies; Oh, a vengeance on them. 560 

Post. jMasse, this man hath the lucke on't, I thinke I can 
scarce euer come to him for money, but this a vengeance 
on, and that a vengeance on't, doth so trouble him, that I 
can get no Coyne : Well, a vengeance on't for my part ; for 
he shall fetch the next Letters him selfe. 565 

Brozcne. I prethee, when thinkst thou the Ships will be 
come about from PlimnioufJiF Post. Next weeke, sir. 

Heigh. Came you sir from Spaine lately? 

Post. I sir; Why aske you that.^ 
Ha. Marry sir, thou seemes to haue bin in the hot countries, 570 
thy face looks so like a peece of rusty Bacon : had thy Host 
at Plimmoth meat enough in the house, whe thou wert there? 

Post. What though he had not sir ? but he had, how then ? 

Haru. ]\Iarry thanke God for it; fc-*- otherwise, he 
w^ould doubtles haue Cut thee out in Rashers to haue eaten 575 

555 vnto,] vnto: Q2 etc. 

556 bestowde] bestow'd Q2 etc. Knaues] knaues Q^, 

557 reformd] reform'd Q2 etc. 558 imployde] imploy'd Q2 etc. 
vses:] vses. Q2 etc. 559 trash;] trash? Q2 etc. 560 Spanish] 
Spanish Q3 Gallies] Gallyes Q2 etc. 561 on't,] on't : Q2 etc. 
562 euer] ever Q3 but this a vengeance] but the avengeance Q3 
564 Coyne:] Coyne. Q2 coyne. Q2i 565 he] hee Q3 

him selfe] himself e Q2 etc. 566 Ships] ships Qt, thinkst] think' st Q2 etc. 
567 weeke] weeke Q3 568 Spaine] Spaine Q^ 569 I] I- Q2 etc. 
sir;] sir: Q2 570 Ha.] Haru. Q2 etc. seemes] seem'st Q2 etc. 
bin] beene Q2 etc. countries] Countries Q3 571 looks] lookes Q2 etc. 
peece] piece Q2 etc. rusty] rustic Qz etc. 572 Plimmoth] 
Plimmouth Q2 Plimmoth Q3 whe] when Q2 etc. 573 not] not, Q2 etc. 
but he had,] but he had: Q2 574 it;] it: Q2 etc. 575 doubtles] 
doubtlesse Q2 etc. Cut] cut Q2 etc. Rashers] Rashers, Q2 etc. 


thee; thou look'st as thou weart through broyld already. 

Post. You haue sayd sir ; but I am no meate for his mo- 
ing, nor yours neither: If I had you in place where, you 
should find me though enough in disgestion, I warrant you. 

JValgr, What will you swagger sirra, will yee swagger? 580 

Brozv. I beseech you Sir, hold your hand ; Gette home 
yee patch, cannot you suffer Gentlemen lest with you? 

Post. Ide teach him a Gentle tricke and I had him of the 
burse; but He watch him a good turne I warrant him. 

Moor. Assure yee maister Towerson, I cannot blame him, 585 
I warrant you it is no easie losse ; 
How thinke you maister Stranger? by my fayth sir, 
Ther's twentie Alarchants will be sorry for it, 
That shall be partners with him in his losse. 

Stra. Why sir, whats the matter. 590 

Moor. The Spanish-gallies haue besette our shippes, 
That lately were bound out for Siria. 

March. What not.^ I promise you I am sorry for it. 

Walg. What an old Asse is this to keepe vs here : 
Maister Pisaro, pray dispatch vs hence. 595 

Pisa. Maister J'andalle I confesse I wronge you; 

576 weart] wert Q2 etc. broyld already] broyl'd alreadie Q2 etc. 

577 sayd] said, Q2 etc. sir;] sir, Q3 meate] meat Q2 etc. 
577-8 moing] mowing Q2 etc. 578 neither] neyther Q2 etc. 
If] if Q2 etc. 

580 JValgr,] Walg. Q2 Walg. Q3 

What] What, Q2 etc. swagger] swagger, Q2 etc. sirra,] sirra? Q2 etc. 

yee] ye Qi 581 you] you, Q2 etc. hand;] hand. Q2 etc. 

582 yee patch] ye Patch Q2 etc. 583 Gentle] gentle Qz tricke] 

tricke, Q2 etc. 584 burse] Burse Q2 etc. 585 Moor.] Moore. Q2 etc. 

yee] ye Q2 etc. maister] Master Q2 etc. 587 maister] master Q2 etc. 

fayth] faith Q3 588 Ther's] There's Q2 etc. twentie] twenty Q2 etc. 

Marchants] Merchants Q2 etc. 590 matter.] matter? Q2 matter: Qi 

591 besette] beset Q2 etc. shippes] Shippes Q2 Ships Q3 592 Siria] 

Syria Q2 Syria Q3 594 JValg.] IValgr. Q2 595 Maister] Master Q2 etc. 

596 Maister] Master Q2 etc. wronge] wrong Q2 etc. 



But He but talke a word or two with him, and straight 

turne to you. 

Ah sir, and how then yfayth ? 

Heigh. Turne to vs, turne to the Gallowes if you will, 600 
Hani. Tis Midsomer-AIoone with him : let him alone, 

He call's Ned Walgraue, Maister Vandalle. {Pisaro. 

IValg. Let it be shrouetide, He not stay an ynche maister 
Pisa. What should you feare : ende as I haue vow'd be- 
So now againe ; my Daughters shalbe yours : ( fore, 605 

And therefore I beseech you and your f riendes, 

Deferre your businesse till Dinner time ; 

And what youd say, keepe it for table talke. 
Haru. Marrie and shall ; a right good motion : 

Sirrs, old Pisaro is growne kind of late, 610 

And in pure loue, hath bid vs home to dinner. 

Heigh. Good newes in truth : But wherf ore art thou sad.^ 
IValg. For feare the slaue ere it be dinner time, 

Remembring what he did, recall his word : 

For by his idle speaches, you may sweare, 615 

His heart was not confederat with his tongue. 

Haru. Tut neuer doubt, keepe stomacks till anone, 

And then we shall haue cates to feede vpon. 

Pisa. Well sir, since things doe fall so crosely out, 

I must dispose my selfe to patience : 620 

598 you.] you Q3 599 yfayth] y faith Q2 etc. 600 will,] will. Q3 

602 call's] calles Q2 calls Q3 IMaister] master Q2 etc. 

603 Walg.] VValg. Q3 be] bee Q2, maister] master Q2 M. Qz 

604 ende] end Qz and Q3 vow'd] vowd Q2 etc. 605 shalbe] shall be Q2 etc. 
fore,] fore Q2 etc. 6c6 friendes] Friendes Q2 friends Q3 

608 table] Table Q2 609 Marrie] Marry Q2 etc. 610 Sirrs] Sirs Q2 etc. 
kind] kinde Q2 611 loue,] Loue Q2 etc. dinner] Dinner Q2 etc. 

612 wherfore] wherefore Q2 etc. sadf] sad. Q2 etc. 

613 Walg.] Walgr. Q2 VValg. Q3 time,] time Q2 etc. 
616 confederat] confederate Q2 etc. tongue.] tongue Q3 
6ig crosely] crossely Q2 etc. 



But for your businesse, doe you assure your selfe, 
At my repayring home from the Exchange. 
He set a helping hand vnto the same. 

Enter Aliiaro the Italian. 

Alita. Bon iunio signconr Padre, why be de malancolHe so 
much, and graue in you a : wat Newes make you looke 625 
so naught.^ 

Pisa. Naught is too good an epithite by much, 
For to distinguish such contrariousnesse : 
Hath not swift Fame told you our slow sailde Shippes 
Haue been ore-taken by the swift saile Gallies, 630 

And all my cared- for goods within the lurch 
Of that same Catterpiller brood of Spaine. 

Alua. Signor si, how de Spaniola haue almost tacke de 
Ship dat go for Turkic : my Pader, harke you me on word, 
I haue receiue vn lettre from my Factor de J\^nniscA^.i after 635 
vn piculo battalion, for vn halfe howre de come a Winde 
f ra de North, & de Sea go tumble here, & tumble dare, dat 
make de Gallies run away for feare be almost drownde. 

Pisa. How sir ; did the Winde rise at North, and Seas 
waxe rough : and were the Gallies therefore glad to fly.^ 640 

Alu. Signior si, & de Ship go drite on de Iscola de Candy. 

624 malancollie] malancholy Q2 etc. 625 you] you, Q2 etc. 

wat] what Qz (>27 epithite] Epithite Q2 etc. 

628 contrariousnesse:] contrariousnesse? Qt, 629 Shippes] 

Ships Q2 etc. 630 been] becne Q2 etc. saile] sayld Q2 etc. 

631 cared-for] cared-for H2 cared for H 632 Spaine] Spaine Qi 

633 Altta.] Alva. Q3 Signor] Signior Q2 etc. si] cy Q2 etc. 

634 go] goe Q3 me] mee Q2 on] one Q2 etc. 635 ]'enmse] 
Vennise Q3 637 & de] and de Qz go] goe Q2 etc. 

639 sir;] sir, Q2 etc. 640 waxe] waxe Qi were] were Q3 

641 Alu.] Al. Q2 etc. Signior si] Signieur cy Q2 etc. 

Ship] ship Qz on de] on the Q2, Candy.] Candc. Q2 Cande Q3 


Pisa. Wert thou not my Aluaro my beloued, 
One whom I know does dearely count of mee, 
Much should I doubt me that some scoffing lacke, 
Had sent thee in the middest of all my griefes, 645 

To tell a feigned tale of happy lucke. 

Alua. Wil you no beleuue mef see dare dan, see de lettre. 

Pisa. What is this world ? or what this state of man, 
How in a moment curst, in a trice blest? 
But euen now my happie state gan fade, 650 

And now againe, my state is happie made, 
My Goods all safe, my Ships all scapt away. 
And none to bring me newes of such good lucke, 
But whom the Heauens haue markt to be my Sonne : 
Were I a Lord as great as Alexander, 655 

None should more willingly be made mine Heyre 
Then thee thou golden tongue, thou good-newes teller 
loy stops my mouth. The Exchange Bell rings. 

Balsa. M. Pisaro, the day is late, the Bell doth ring : 
Wilt please you hasten to perf orme this businesse ? 660 

Pisa. What businesse sir? Gods mee, I cry you mercie : 
Doe it, yes sir, you shall commaund me more. 

Tower. But sir, What doe you meane, doe you intend 
To pay this Bill, or else to palter with meef 

642 Aluaro] Aluaro, Q3 643 mee] me Q2 etc. 645 middest] midst Q3 

647 Alua.] Alu. Q2 Wil] Will Q2 Will Q3 beleuue] beleeue Q2 etc. 

me] mee Q^ see] See Q2 etc 648 Pisa.] Pisa, Q3 What] 

What Q2 what] what Q3 650 happie] happy Q2 etc. 

651 state] State Q2 happie] happy Q2 etc. 652 Goods] goods Q2 etc. 

all] turned a Q3 

654 Heauens] heauens Q3 markt] mark'd Q2 etc. Sonne] sonne Q3 

655 Were] Were Q2 Alexander] Alexander Q;^ 656 Heyre] Heyre, Q2 etc. 
657 teller] teller, Q2 etc. 658 mouth.] mouth Q2 etc. 

661 mee,] me Q2 etc. mercie:] mercie. Q2 mercy. Q3 

662 commaund] command Q2 etc. 
664 mee] me Q2 etc. 


Pisa. Marry God sheild, that I should palter with you : 665 
I doe accept it, and come when you please ; 
You shall haue money, you shall haue your money due. 

Post. I beseech your worship to consider mee. 

Pisa. Oh, you cannot cogge : Goe to, take that, 
Pray for my life: pray that I haue good lucke, 670 

And thou shalt see, I will not be thy worst maister. 

Post. Marry God blesse your Worship ; I came in happy 
time : What, a French crowne ? sure hee knowes not what 
he does : Well, He begon, least he remember himselfe, and 
take it away from me againe • E.vit Post. 675 

Pisa[.] Come on my lads, AI. Vandallc,s\\tt\.sonntAliiaro: 
Come don Balsaro, lets be iogging home 
Bir laken sirs, I thinke tis one a clocke. 

Exit Pisaro , Balsaro, Aluaro, Delion, and Vandalle. 
Brow. Come M. Moore, th' Exchange is waxen thin, 
I thinke it best we get vs home to dinner. 680 

Moor. I know that I am lookt for long ere this : 
Come maister Towerson, let's walke along. 

Exit Moore, Brozi'tie, Tozi'crson, Strangers, & Marchant. 
Heigh. And if you be so hot vpon your dinner, 
Your best way is, to haste Pisaro on, 

665 Marry] Mary Q2 etc. sheild] shield Q2 etc. 
668 mee] me Q2 etc. 671 maister] master Q2 etc. 

672 Marry] Mary, Q2 Marry, Q3 Worship] worship Q2 etc. 

673 What.] What Q2 etc. 674 begon] be gone Q2 bee gone Q3 
least] lest Q3 675 againe-] againe. Q2 etc. 

Post.] Post Q2 676 Pisa] Pisa. Q2 etc. sonne] son Q2 etc. 
Aluaro] .\li'aro Q3 677 Balsaro] Balsaro Q2 etc. home] home, Q2 etc. 
678 clocke] Clocke Q2 etc. 678 s.d. Exit] Exit Q2 etc. 
Aluaro] Alvaro Q3 randalle.] Vandalle: Qs 

681 ^[oor.] Moore. Q2 etc. 

682 Come maister Towerson, let's] Come M. Toiverson, lets Q2 etc. 
682 s.d. Broz'z-ne, Toti.'erson.] Brouiie, Tozierson, Q2 etc. 

& Marchant] and Merchant Q2 etc. 684 is,] is Q2 etc. 


For he is cold enough, and slow enough; 685 

He hath so late digested such cold newes. 

U'alg. Mary and shall : Heare you maister Pt^aro. 

Ham. IMany Pisaros heere : Why how now Ned ; 
Where is your Matt' your welcome, and good cheare? 

IValg. Swounds, lets follow him; why stay we heere? 690 

Heigh. Nay prethee Ned IValg. lets bethinke our selues, 
There's no such haste, we may come time enough : 
At first Pisaro bade vs come to him 
Twixt two or three a clocke at after noone? 
Then was he old Pisaro : but since then, 695 

What with his griefe for losse, and ioy for finding, 
Hee quite forgat himself e, when he did bid vs, 
And afterward forgat, that he had bade vs. 

IValg. I care not, I remember't well enough : 
Hee bade vs home ; and I will goe, that's flat, 700 

To teach him better witte another time. 

Ham. Heer'le be a gallant iest, w^hen we come there, 
To see how maz'd the greedie chuffe will looke 
Vpon the nations, sects, and factions. 

That now haue borne him company to dinner : 705 

But harke you, lets not goe to vexe the man ; 
Prethee sweet Ned lets tarry, doe not goe. 

687 Walg.] VValg Q3 Mary] Marry Q3 maister] master Q2 etc. 

688 heere] here Q2 etc. Why] why Q2, 

689 The mark before your u a turned comma. Q2 etc. read Matt, your 
cheare] Cheare Q2 690 Walg.] VValg. Q3 Swounds, lets] 

Come, lets Q2 etc. why] Why Q2 etc. heere] here Q2 etc. 

691 Nay] Nay, Q2 etc. selues,] selues Q2 etc. 

693 bade] bad Q2 etc. 694 clocke] Clocke Q2 etc. 695 was] was Q3 

697 Hee] He Q2 etc. quite] quit Q2 698 bade] bad Q2 etc. 

699 remember't] remember it Q2 etc. 700 Hee bade] He bad Q2 etc. 

home;] home, Q2 etc. 701 witte] wit Q2 etc. 702 iest] lest Q2 

when we] when we Qs 703 greedie] greedy Q2 etc. 

704 nations, sects, and factions] Nations, Sects, and Factions Q2 etc. 

705 dinner] Dinner Q2 706 lets] let vs Q3 


Walg. Not goe ? indeed you may doe what you please ; 
He goe, that's fiat : nay, I am gon alreadie. 
Stay you two, and consider further of it. 710 

Heigh. Nay all will goe, if one: I prethee stay; 
Thou'rt such a rash and giddie headed youth. 
Each Stone's a Thorne: Hoyda, he skips for haste; 
Young Hartiie did but iest ; I know heele goe. 

Walg. Nay, he may chuse for mee : But if he will, 715 
Why does he not? why stands he prating still? 
If youle goe, come: if not, fare-well? 

Ham. Hier a Poast-horse for him (gentle Francke) 
Heer's haste, and more haste then a hastie Pudding : 
You mad-man, mad-cap, wild-oates ; we are for you, 720 

It bootes not stay, when you intend to goe. 

Walg. Come away then. Exeunt. 

708 Walg.] Walg. Q3 what] what Q3 709 goe,] goe Q2 etc 

gon alreadie] gone already Q2 etc. 711 Heigh.] Heigh: Q2 

Nay] Nay, Q2 etc. will] will Qs I prethee] prethee Q2 etc. 

712 giddie headed] giddy-headed Q2 etc. 713 Stone's] Sone's H2 

Stone's H stone's Q3 Thorne] thorne Q2 etc. 

714 Haruie] Haruy Q3 715 JValg.] Walg. Qj,. mee] me Q2 etc, 

716 why] why Q3 prating] pratling Q3 

717 fare-well?] farewell. Q2 etc. 718 Hier] Hire Q2 etc. 
horse] hoarse Q2 etc. Francke] Franke Q2 etc. 

719 hastie] hasty Q2 etc. 720 mad-man] madd-man Q2 mad man Q3 

wild-oates] wilde-oates Q2 wilde-oates Qt, we] we Q3 

721 when] when Q3 722 Walg.] Vl'alg. Q2, Exeunt.] omitted Q2 etc. 


[Act II. Scene I. Pisaro's House.] 

Enter Pisaro, Aluaro, Delion, and Vandalle. 

Pisa. A thousand welcomes f riendes : Monsier Delion, 
Ten thousand Ben-venues vnto your selfe. 
Signior ^^/u^ro, Maister Vandalle; 725 

Proude am I, that my roofe containes such Friends. 
Why Mall, Larcntia, Matth ; Where be these Girles? 

Enter the three Sisters. 
Liuely my Girles, and bid these Strangers welcome ; 
They are my friends, your friends, and our wel-willers : 
You cannot tell what good you may haue on them. 730 

Gods mee, Why stirre you not ? Harke in your eare, 
These be the men the choyse of many millions, 
That I your carefull Father haue prouided 
To be your Husbands : therefore bid them welcome. 

Math. Nay by my troth, tis not the guyse of maydes, 735 
To giue a slauering Salute to men : (aside, 

If these sweete youths haue not the witte to doe it, 
Wee haue the honestie to let them stand. 

Vanda. Gods sekerlin, dats vn-fra meskin, Monsieur 

^2^ welcomes] welcomes, Q2 welcomes, Q3 friendes] friends Q2 etc. 

Monsier] Mounsier Q2 etc. 725 Signior] Seignior Q2 etc. 

Aluaro] Klvaro Q:}, Maister] Master Q2 etc. 

Vandalle;] Vandalle, Q2 etc. 726 Proude] Prowd Q2 etc. 

727 Why] Why Q2 Larentia] Laurentia Qz Matth;] Matth: Q2 

Matth. Q3 Where] Where Q2 728 welcome] welcome Q3 

729 wel-] wel- Q3 730 what] what Q3 731 mee] me Q2 etc. 

Why] why Q2 why Q3 732 men] men, Q2 etc. except H 

733 Father] father Q3 prouided] provided Q3 

734 Husbands] husbands Q3 735 Math.] Matth. Q2 Matth Q3 
tis] 'tis Q2 etc. guyse] guise Q2 etc. maydes,] maids Qa etc. 
736 aside,] aside. Q2 etc. 737 sweete] sweet Q2 etc. 

witte] wit Q2 etc. 738 Wee] We Q2 We Q3 

739 I'anda.] Vand. Q3 vn-fra] vn fra Q2 etc. meskin,] meskin H 


Delion dare de Grote freister, dare wode ic zene, tis vn-f ra 740 
Daughter, dare heb ic so long loude, dare Heb my desire 
so long gewest. 

Altui. Ah Venice, Roma, Italia, Fraimcia, Anglitera, nor all 
dis orbe can shew so much helliza, veremante de secunda, 
Madona de granda bewtie. 745 

Delio. Certes me dincke de mine depeteta de little An- 
gloise, de me Matresse Pisaro is vn nette, vn becues, vn f ra, 
et vn tendra Damosella. 

Pisa. What Stocks, what stones, what senceles Truncks 

be these? 750 

When as I bid you speake, you hold your tongue : 
When I bid peace, then can you prate, and chat, 
And gossip : But goe too, speake and bid welcome ; 
Or (as I liue) you were as good you did. 

Mari. I cannot tell what Language I should speake : 755 
Yf I speake English (as I can none other) 
They cannot vnderstand mee, nor my welcome. 

Ahia. Bella Madona, dare is no language so dnlcc ; dulce, 
dat is sweete, as de language, dat you shall speake, and de 
veil come dat you sal say, sal be well know perfaytemente. 760 

Mari. Pray sir. What is all this in English? 

Alita. De vsa sal veil teash you vat dat is ; and if you sal 
please, I will teash you to parler Italiuno. 

Pisa. And that mee thinkes sir, not without need : 

740 dare wode] dore wode Q3 743 Alua] Aliia Q3 Anglitera] 

Anglitera Qi 746 Delio.] Delion. Qi 749 What] What Q2 

Stocks] Stockes Q2 etc. what . . . what] what . . . what Qi 

senceles] sencelesse Q2 etc. 751 When] When Q2 

tongue:] tongue; Q2 etc. 752 When] When Qz welcome;] 

welcome, Q2 etc. 754 were] were Q3 756 Yf] If Q2 etc. £«<7/ij/i] English Q3. 

other] other. Q3 757 mee] me Q2 etc. 758 dulce,] dulce Q2 etc. 

759 sweete] sweet Q2 etc. 

760 veil] vel Q2 etc sal] sail Q2 etc. sal be] sail be Q3 

well] veil Q2 etc. 761 What] what Q2 etc. English] EngHsh Q3 
762 veil] vel Q2 etc. 763 teash] teach Qs 764 mee] me Q2 etc. 


And with Italian, to a Childes obedience, 765 

With such desire to seeke to please their Parents, 

As others farre more vertuous then them selues, 

Doe dayly striue to doe: But tis no matter, 

He shortly pull your haughtie stomacks downe : 

He teach you vrge your Father; make you runne, 770 

When I bid runne : and speake, when I bid speake : 

What greater crosse can caref ull parents haue ( knock within 

Then carelesse Children. Stirre and see who knocks f 

Enter Haruie, JValgraue, and Heigham. 

Walgr. Good morrow to my good Mistris Mathea. 

Mathe. As good a morrow, to the morrow giuer. 775 

Pisa. A murren, what make these? What do they heeref 

Heigh. You see maister Pisaro, we are bold guestes. 
You could haue bid no surer men then wee. 

Pisa. Harke you Gentlemen ; I did expect you 
At after noone, not before two a clocke. 780 

Haru, Why sir, if you please, you shall haue vs heere at 
two a clocke, at three a clocke, at f oure a clock ; nay till to 
morrow this time : yet I assure you sir, wee came not to 
your house without inuiting. 

Pisa. Why Gentlemen, I pray who bade you now ? 785 
Who euer did it, sure hath done you wrong : 

765 Italian] Italian Q3 767 them selues] themselues Q2 etc. 

769 haughtie] haughty Q2 etc. 771 speake,] speake Q2 etc. 

772 carefull] careful Q3 parents] Parents Q2 etc. 

772 s.d. Haruie] Haruy Q2 etc. Walgraue] VValgrauc Q3 

774 Walgr.] J'l'alg. Q2 775 Mathc] Math Q2 Math. Q3 

morrow,] morrow Q2 etc. giuer] giver Q3 

776 heere] here Q2 etc. 777 maister] master Q2 etc. 

778 wee.] we, Q2 we. Q3 

780 after noone] afternoone Q2 etc. clocke] Clocke Q2 etc. 

781 Ham,] Haru. Q2 etc. heere] here Q2 

782 clock; nay] clocke; nay, Q2 etc. 784 inuiting] inviting Q3 
785 bade] bad Q2 etc. 786 it,] it Q2 etc. 



For scarcely could you come to worser cheare. 

Heigh. It was your owne selfe bade vs to your cheare, 
When you were busie with Balsaro talking ; 
You bade vs cease our suites till dinner time, 790 

And then to vse it for our table talke : 
And wee I warrant you, are as sure as Steele. 

Pisa. A murren on your selues, and surenes too : 
How am I crost; Gods mee, what shall I doe, 
This was that ill newes of the Spanish Pirats, 795 

That so disturb'd mee : well, I must dissemble. 
And bid them welcome; but for my Daughters 
He send them hence, they shall not stand and prate. 
Well my Maisters, Gentlemen, and Friends, 
Though vnexpected, yet most heartily welcome ; 8(X) 

(Welcome with a vengeance) but for your cheare, 
That will be small : [aside] yet too too much for you. 
Mall, in and get things readie. 

Laurentia, bid Maudlin lay the Cloth, take vp the Meate : 
Looke how she stirres; you sullen Fife, you Callet, 805 

Is this the haste you make ? Exeunt Marina & Laurentia. 

Alua. Signor Pisaro, ne soiat so malcontento de Gentle- 
woman your filigola did parler but a litella to, de gentle 
homa y our graunde amico. 

787 scarcely] scarsely Q2 etc. 788 your cheare] this cheare Q2 etc. 

790 suites] suits Q2 etc. 792 wee] we Q2 etc. I] / Qs 

you,] you Q2 etc. are] omitted Q2 etc. 793 surenes] surenesse 

Q2 etc. 794 mee,] me Q2 etc. doe,] doe? Q3 

795 St>auish] Spanish Q3 796 mee] me Q2 etc. I] / Q3 

797 And] Aud Q2 welcome;] welcome, Q3 Daughters] daughters Q3 

798 He] /le Q3 799 Maisters] blasters Q2 etc. 
801 cheare] cheere Q2 etc. 

803 readie] ready Q2 etc. 804 Laiirctitia,] belongs metrically zcith line Sos 
Cloth] cloarh Q2 cloath Q3 Meate] meate Q2 etc. 

806 Is] /s Q3 Marina] Marina, Q2 etc. 807 Alua.] Aha. Q3 Signor] Signior 
Q2 etc. ne soiat] ne soi at Q3 808 did] dit Q2 etc. parler] parler, Q2 etc. 
809 homa y our graunde] homa our grande Q2 etc. 


Pisa. But that graunde amico, is your graunde inimico: 810 
One. if they be suiYred to parlar. 
Will poll you, I and pill you of your Wife : 
They loue togeather : and the other two, 
Loues her two Sisters : but tis onely you 
Shall crop the flower, that they esteeme so much. 815 

Alua. Do dey so ; veil let me lone, sal see me giue dem 
de such graund mocke, sal be shame of dem selues. 

Pisa. Doe sir, I pray you doe ; set lustily vpon them, 
And He be ready still to second you. 

JValg. But Matt, art thou so mad as to turne French f 820 

Math. Yes marry when two Sundayes come together; 
Thinke you He learne to speake this gibberidge, 
Or the Pigges language? Why, if I fall sicke, 
Theyle say, the French (et-cetera) infected mee. 

Pisa. Why how now ]\Hnion ; what, is this your seruice? 825 
Your other Sisters busie are imployde. 
And you stande idle : get you in, or. Exit Mathea. 

Walg. Yf you chide her, chide me (M. Pisaro: 
For but for mee, she had gon in long since. 

Pisa. I thinke she had : for we are sprights to scare her ; 830 
But er't be long, He driue that humor from her. 

811 suffred] suffered Q2 etc. 812 I] / Q2, Wife] wife Q2 etc. 
813 togeather] together Q2 etc. 816 veil] vel Qi etc. 
818 I] / Qz 819 He] /le Qz 820 Matt] Mat Q2 etc. 
French] French Q3 

821 marry] marry, Q2 etc. together;] together? Q3 

822 Thinke you He learne] Thinke you I learne Q2 Thinke you 7 
learne Q3 823 I] I Qs 824 French] French Q2 French Q3 
et-cetera] et ccctera Q2 etc. mee] me Q2 etc. 

825 what,] what Q2 etc. 

826 imployde] implode Q2 827 stande] stand Q2 etc. 

or.] or Q2 etc. We should print or — Mathea.] Mathea Q2 

828 Yf] If Q2 /f Q3 (M. Pisaro:] (master Pisaro:) Q2 etc. 

829 mee] me Q2 etc. gon] gone Q2 etc. 830 Pisa.] Pisar. Q3 
her;] her: Q3 831 er't] ere't Q2 etc. 


Aha. Signer, me thincks you soud no macke de wenshe 
so hardee, so disobedient to de padre as ditt madona Matt. 

IValg. Signor, me thinkes you should learne to speake, 
before you should be so foole-hardy, as to woe such a 835 
Mayden as that Madona Matt? 

Delio. Warrent you Monsieur, he sal parle wen you sal 
stande out the doure. 

Haru. Harke you Monsieur, you would wish your self e 
halfe hang'd, you were as sure to be let in as hee. 840 

Van. Macke no doubt de signor Alua. sal do vel enough 

Heigh, perhaps so : but me thinks your best way were to 
ship your self e ior Stood, and there tobatter your self e for a 
commodity; for I can tell you. you are here out of liking. 

Pisa. The worst perhappes dislike him, but the best 845 
esteeme him best. 

Haru. But by your patience sir, mee thinks none 
should know better who's Lord, then the Lady. 

Aliui. Den de Lady, vat Lady? 

Ham. Marry sir, the Lady let her alone : one that 850 

meanes to let you alone for feare of trouble. 

Pisa. Euery man as he may : yet sometimes the blinde 

832 Signor] Signior Q2 etc. 

thincks] tincks Q2 etc. macke] make Q2 etc. wenshe] wenche Q2 etc. 

833 disobedient] disobedient, Q2 etc. Matt] Mat Q2 etc. 

834 IValg.] IValgr. Q3 Signor] Signior Q2 etc. speake,] speake Q3 

835 foole-] foole Q2 836 Matt.'] Matt. Q2 etc. 

838 stande] stand Q2 etc. the] de Q2 etc. 

839 would] wonld Q3 840 hang'd] hanged Q2 etc. hee] he Q2 
841 Van.] Van. Q2 signor Ahia.] signior Alua Q2 etc. 

vel] wel Q2 etc. enough] enough. Q3 842 Heigh.] Heig. Qz etc. 
perhaps] Perhaps Q2 etc. thinks] thinkes Q3 

843 there] ther Q2 batter] barter Q2 etc. 

844 commodity;] commoditie; Q2 commoditie : Q3 845 Pisa.] Pisa. Q2 
Pisar. Q:ii perhappes] perhaps Q3 847 mec] me Q2 etc. thinks] thinkes Q3 

848 who's Lord] who's is Lord Q2 who's the Lord Q3 

849 Lady?] Lady. Q:^ 850 ^L^rry] Mary Q3 852 Euery] Every Q3 


may katch a Hare. 

Heigh. I sir, but he will first eate many a Fly : 
You know it must be a wonder, if a Crab catch a Fowle. 855 

Vand. Macr hort ens ; if he & ic & monsier Delion be de 
Crab, we sal kash de Fowle wel genough, I war rent you. 

Walg. I, and the Foole well enough I warrant you ; 
And much good may it doe yee. 

Alua. Alee di.ncke such a piculo man as you be, sal haue 860 
no de such grande lucke madere. 

Delio. Non da Monsieur, and he be so granda amorous 
op de Damosella, he sal haue Mau'dlyn de witt W^enshe in 
de Kichine by maiter Pisaros leaue. 

Walg. By M. Pisaros leaue. Monsieur He mumble you, ex- 865 
cept you learne to know, whom you speake to : I tell thee 
Francois, He haue (maugre thy teeth) her that shall make 
thee gnash thy teeth to want. 

Pisa. Yet a man may want of his will, and bate an Ace 
of his wish : But Gentlemen, euery man as his lucke serues, 870 
and so agree wee; I would not haue you fall out in my 
house : Come, come, all this was in iest, now lets too't in 
earnest; I meane with our teeth, and try who's the best 
Trencher-man. Exeunt. 

853 katch] catch Q2 etc. 854 Fly] Flye Qt, 856 ctis;] ens: Q3 
monsier] monsieur Q2 etc. 857 genough,] genough Q2 etc. warrant] 
warrent Q2 858 you;] you. Q2 you: Q3 860 Mee] Me Q2 etc. 

862 and] & Q2 etc. 

863 he] hee Q2 Maivdlyn] Maudlin Q2 MaudcUn Q3 864 Pisaros 
leaue] Pisarocs leave Q^ 

865 Pisaros] Pisaroes Q3 leaue] leane Q2 Monsieur] Monsieur Qs 
you,] yon Q2 you Q3 866 know] knowe Q2 870 wish:] wish. Q2 etc. 
euery] every Q3 871 wee;] wee: Q2 we: Q3 872 house:] house. Q2 
iest,] iest; Q2 etc. lets] let's Q2 etc. 873 earnest;] earnest, Q2 etc. 
try] trye Q2 trie Q3 


[Scene II. Paul's JValk.] 

Enter Frisco. 

Frisc. Ah sirra, now I know, what manner of thing 875 
Poii-'les is ; I did so marie afore what it was out of all count : 
For my maister would say, Would I had Poivles full of 
Gold. My young ^Mistresses, and Grimkin our Taylor, 
would wish they had Pozi'hs full of Xeedles : I, one askt 
my maister halfe a yard of Freeze to make me a Coate and 880 
hee cride whoope holly-day, it was big enough to make 
Poivles a Night-gowne. I haue been told, that Duke Hum- 
frie dwelles here, and that he keeps open house, and that a 
braue sort of Cammileres dine with him euery day; now 
if I could see any vision in the world towards dinner. I 885 
would set in a foote : But the best is, as the auncient Eng- 
lish romaine Orator s2L\i\\,So-lame-mcn, Misers, Hozi'scunues, 
and so f oorth : the best is, that I haue great store of compa- 
nie that doe nothing but goe vp and downe, and goe vp 
and downe, and make a grumbling togeather, that the 890 
meate is so long making readie: Well, if I could meete 

874 s.d. Enter] Enter Qi Enter Qz etc. 

875 Frisc.] Frisco Q^ know,] know Q2 etc. 876 was] was, Q2 etc. 
877 maister] master Q2 etc. 878 Gold.] Gold; Q2 etc. 

My] my Q2 etc. 879 Xeedles] needles Qi 

880 maister] master Q2 Master Qt, yard] yeard Q3 
Coate] Coat, Q2 etc. 

881 hee] he Q3 cride] cry'de Q2 cryde Qz big] bigge Q2 etc. 

882 been] beene Q2 etc. told] tolde Qi 882-3 Humfrie] Humfrey Q2 
Humt^hrcy Qi 883 dwelles] dwels Q2 dwells Q3 here,] here: Qi 
he] hee Qi keeps] keepes Q2 etc. 884 euery] every Q3 

day;] day: Qi 886 foote:] foot. Q2 foote. Q3 as the] a the Qi 
auncient] ancient Q2 etc. 887 romaine] Romane Q2 etc. Misers] Mi ers H5 
Misers P etc. Hozcscwitics] Housc-iviues Q2 etc. 888 foorth] forth Q3 
888-9 companie] Companie Q3 889 downe,] downe: Qi 
890 togeather] together Q2 etc. 8qi meate] meat Qi 
readie:] readie. Q2 ready. Q3 Well,] Well Qi 


this sciiruie Frenchman, they should stay.mee, for I would 
be gone home. 

Enter Anthony. 

Antho. I beseech you Monsieur, giue mee audience. 

Frisc. What would you haue ? What should I giue you ? 895 

Antho. Pardon, sir mine vnciuill and presumptuous in- 
trusion, who indeauour nothing lesse, then to prouoke or 
exasperat you against mee. 

Frisc. They say, a word to the Wise is enough : so by 
this litle French that he speakes, I see hee is the very man I 
seeke for : Sir, I pray what is your name f 901 

Antho. I am nominated Monsieur Le Mouche, and rest at 
your bon seruice. 

Frisc. I vnderstand him partly ; yea, and partly nay : 
Can you speake French.^ Content pore vous monsieur 

M ado mo. 905 

Antho. If I could not sir, I should ill vnderstand you: 
you speake the best French that euer trode vpon Shoe of 

Frisc. Nay, I can speake more Languages then that : 
This is Italian, is it not? Nella slurde Curtezanu. 910 

Antho. Yes sir, and you speake it like a very Naturall. 

Frisc. I beleeue you well: now for Dutch: 

892 stay mee] stay me Q2 stay for me Q3 893 s.d. Anthony] 

Anthoitie Q2 etc. 894 you] you, Q2 etc. Monsieur] ^Monsieur Q2 etc. 

giue] give Qs mee] me Q2 etc. 896 sir] sir, Q2 etc. 

vnciuill] vncivill Q3 898 exasperat] exasperate Q2 etc. 

900 litle] little Q3 hee] he Q2 901 for:] for. Q3 pray] pray. Q2 etc. 

902 Monsieur Le Mouche] 'Monsieur Le 'Slouclie Q2 904 Frisc.] Fris.Q2 

vnderstand] Vnderstand Q2 I vnderstand him partly; yea, and 

partly nay:] I vnderstand him; partly yea, and partly nay: Qs 

905 French] French Q3 Madomo] tnadamo Q2 etc. 

907 French] French Q3 910 Xella] Nelle Q2 etc. 

913 Frisc] Frisco. Q2 etc. I] / Q3 beleeue] beheue Q2 

Dutch:] Duch: Q2 Duch. Q3 


Ducky de doe zvatf hcb yee gc brought. 

Antho. I pray stop your mouth, fot I neuer heard such 
Dutch before brocht. 915 

Frsc. Nay I thinke you haue not met with no pezant : 
Heare you M. Mouse, (so your name is I take it) I haue 
considered of your learning in these aforesaid Languages, 
and find you reasonable : So, so, now this is the matter ; 
Can you take the ease to teach these Tongues to two or 920 
three Gentlewomen of mine acquaintance, and I will see 
you paide for your labour. 

Antho. Yes sir, and that most willingly. 

Fris. Why then ]\I. Mouse, to their vse, I entertaine yee, 
which had not been but for the troubles of the world, that 925 
I my selfe haue no leasure to shew my skill : Well sir, if 
youle please to walke with me, He bring you to them. 


[Scene III. A Room in Pisaro's House.] 

Enter Laurentia, Marina, and Mathea. 

Lauren. Sit till dinners done; not I, I sweare : 
Shall I stay ? till he belch into mine eares 
Those rusticke Phrases, and those Dutch French tearmes, 930 
Stammering halfe Sentences dogbolt Elloquence: 
And when he hath no loue for-sooth, why then 

913 ge] gee Q2 etc. 

914 I] / Q3 fot] for Q2 etc. I] / Q3 916 Frsc] Frisc. Q2 etc. 
I] ^ Qi pezant] Pezant Q2 etc. 917 Mouse] blouse Q2 

n I QZ (both occurrences) 

921 I] / Q3 922 paide] paid Q3 924 Fris.] Frisc. Q3 

M.] M- H M H2 I] / Q3 yee] ye Q2 etc. 926 I] / Q3 

927 me] mee Q3 He] lie Q3 927 s.d. Marina ... Mathea] 

'Marina... yiatliea Q2 928 dinners] Dinners Q2 etc. I, I] /, / Q3 

9^ I] ^ Q3 930 rusticke] Rusticke Q2 etc. tearmes] termes Q2 etc. 

931 Elloquence:] Eloquence Q2 etc. 932 loue] loue, Q2 etc. 

then] then, Q3 


Hee tels me Cloth is deare at Anwerpe, and the men 

Of Amsterdam haue lately made a law, 

That none but Dutch as hee, may trafficke there: 935 

Then standes he still and studies what to say; 

And after some halfe houre, because the Asse 

Hopes (as he thinkes) I shall not contradict him, 

Hee tels me that my Father brought him to me, 

And that I must performe my Fathers will. 940 

Well good-man Goose-cap, when thou woest againe, 

Thou shalt haue simple ease, for thy Loues paine. 

Mathe. Alas poore Wench, I sorrow for thy hap, 
To see how thou art clog'd with such a Dunce : 
Forsooth my Sire hath fitted me farre better, 945 

My Frenchman comes vpon me with the Sa, sa, sa; 
Sweete Madam par done moyc I pra: 
And then out goes his Hand, downe goes his Head, 
Swallowes his Spittle, f rissles his Beard ; and then to mee : 
Pardone moy mistresse Mathea, 950 

// / he hold, to macke so hold met you, 
Thinke it go znnll dat spurres me dus vp yow. 
Dan cast neit off so good a^ide trite Louer, 
Madama cclestura de la, (I know not what) 
Doe oft pray to God dat me ivoiid lone her: 955 

And then hee reckons a catalogue of names 

933 tels] tells Q2 etc. Anivcrpe] Antzverpe Q2 etc. 

men] men, Q3 934 law] Law Q2 etc. 935 Dutch] Dutch, Q2 etc. 

hee] he Q3 trafficke] traffique Q2 etc. there:] there. Q2 etc. 

936 standes] stands Q2 etc. still] still, Q2 etc. say;] say: Q3 

939 Hee tels me] He tells me, Q2 etc. 943 Mathe.] Math. Q2 etc. 

Wench,] Wench Q3 944 clog'd] clogg'd Qs 945 farre] much Qs 

better,] better; Q2 etc. 946 sa;] sa, Q2 etc. 947 Sweete] Sweet Q2 etc. 

Madam] Madame Q2 etc. moye] moy Q3 949 frissles] frizzles Q2 etc. 

950 mistresse] Mistresse Q2 etc. 952 go] goe Qi you.] you: Q2 etc. 

9S3 ande] arde Q3 954 la,] la Q3 

956 hee] he Q2 etc. catalogue of names] catalogue ofnames Qi 

Catalogue of Names, Q2 etc. 


of such as loue him, and yet cannot get him. 

Mari. Nay, but your Monsieur's but a ]Mouse in cheese, 
Compare! with my Signor; hee can tell 

Of Lady Venus, and her Sonne blind C lipid: 960 

Of the faire Scilla that was lou'd of Glaiicius, 
And yet scornd Glauciis, and yet lou'd King Minos; 
Yet Minos hated her, and yet she holp'd him ; 
And yet he scorn'd her, yet she kild her Father 
To doe her good ; yet he could not abide her : 965 

Nay, hele be bawdy too in his discourse; 
And when he is so. he will take my Hand, 
And tickle the Palme, wincke with his one Eye, 
Gape with his ]\Iouth, and 

Laur. And, hold thy tongue I prethee : here's my father. 970 

Enter Pisaro, Alimro, Vandalle, Delion, Haruie, 
IValgraue, and Heigham. 
Pisa. Vnmannerly, vntaught, vnnurtred Girles, 
Doe I bring Gentlemen, my very friends 
To feast with mee, to reuell at my House, 
That their good likings, may be set on you, 
And you like misbehaud and sullen Girles, 975 

Turne tayle to such, as may aduance your states : 

957 of] Of Q2 etc. loue him] him omitted Qz 958 Monsieur's] 
Mounsieur's Q2 Monsieurs' Q^ cheese] Cheese Q2 etc. 
959 Compard] Compar'd Q2 etc. Sig}wr\] Sigiiior: Q2 etc. 
hee] Hee Q2 He Q3 960 Cupid:] Cuf>id; Q2 etc. 

961 Scilla] Scilla, Q2 etc. 

962 scornd] scorn'd Q2 etc. 964 her,] her: Q2 etc. kild] kill'd 
Q2 etc. Father] Father, Q2 

965 To doe her good] To doe him good Q2 etc. her:] her. Q2 etc. 

966 hele] heele Q2 etc. bawdy] bawdie Q2 discourse;] discourse, Q3 
968 wincke] winke Q2 970 And,] And Q3 tongue] tongue, Q2 etc. 
prethee:] prethee, Q3 971 vnnurtred] vnnurtur'd Q2 etc. 

972 friends] friends, Q2 etc. 973 mee] me Q2 etc. House] house Q3 

974 likings,] likings Q2 etc. you,] you; Q2 etc. 

975 you] you, Q2 etc. misbehaud] misbehau'd Q2 etc. ; 


I shall remember t, when you thinke I doe not. 

I am sorrie Gentlemen, your cheare's no better; 

But what did want at Board, excuse me for, 

And you shall haue amendes be made in Bed. 980 

To them friends, to them ; they are none but yours : 

For you I bred them, for you brought them vp : 

For you I kept them, and you shall haue them : 

I hate all others that resort to them : 

Then rouse your bloods, be bold with what's your owne : 985 

For I and mine (my friends) be yours, or none. 

Enter Frisco and Anthonie. 

Frisc. God-gee god-morrow sir, I haue brought you 
M. Mouse here to teach my young ]\Iistresses : I assure you 
(for-sooth) he is a braue Frenchman. 

Pisa. Welcome friend, welcome: my man (I thinke) 990 
Hath at the full, resolu'd thee of my will. 
Monsieur Delion, I pray question him : 
I tell you sir, tis onely for your fake. 
That I doe meane to entertaine this fellow, 

Antho. A bots of all ill lucke, how came these heere? 995 
Now am I posde except the Wenches helpe mee : 
I haue no French to flap them in the mouth, 

977 remembert] remember't Q2 sorrie] sorry, Q2 sorry Q3 
Gentlemen,] Gentlemen Q2> 980 amendes] amends Q2 etc. 
982 you brought] you I brought Q2 etc. vp :] vp, Q2 etc. 
984 them:] them. Q2 etc. 985 rouse] rowse Q2 etc. 

owne :] owne, Q2 etc. 986 s.d. Frisco] Frisco, Q3 Anthonie] Anthonio Q3 
987 gee god] gee-god Q2 etc. 988 here] here, Q2 heere, Q2 
Mistresses] mistresses Q3 989 for-sooth] forsooth Q2 etc. 
Frenchman] Frenchman Q3 991 full,] full Q2 etc. 

992 Monsieur] Mounsieur Q2 etc. him:] him; Q2 etc. 

993 tis] 'tis Q2 etc. fake] sake Q2 etc. 

994 fellow,] fellow. Q2 etc. 995 heere] here Q3 

996 posde] pos'd, Q2 etc. mee] me Q3 997 I] / Q3 

French] French Q3 flap] slap Q3, possibly Q2 mouth,] mouth. Q2 etc. 


Haru. To see the lucke of a good fellow, poore Anthony 

Could nere haiie sorted out a worser time : 

Now will the packe of all our sly deuises looo 

Be quite layde ope, as one vndoes an Oyster : 

Francke, Heighmn, and mad Ned, fall to your muses, 

To helpe poore Anthony now at a pinch, 

Or all our market will be spoyld and marde. 

Walg. Tut man, let vs alone, I warrant you. (vous. 1005 
Delio. Monsieur, Vous estes tresbien venu, de qiicll pais estcs 
Anth. Vous, thats you : sure he sales, how do men call you 

Monsieur le MoucJie? 

Mari. Sister, helpe sister; that's honest Anthonie, 

And he answers, your woer cuius contrarium. loio 

Dclio. iMonsieur, Voiisncntcns pas,Icnc dcmaundc puit, 

vostre no7n? 

Math. Monsieur Delion, he that made your Shooes, made 

them not in fashion : they should haue been cut square at 

the toe. 1015 

Delio. Madame, my Sho met de square toe, rat be datf 
Pisa. Why sauce-box ; how now you vnreuerent mincks 

Why? in whose Stable hast thou been brought vp. 

To interrupt a man in midst of speach? 

Monsieur Delion, disquiet not your selfe, 1020 

998 fellow,] fellow ; Q2 1000 sly] slye Q2 etc. deuises] 

deuices Q2 devices Q^ looi Oyster:] Oyster. Q2 etc. 

1002 Francke] Franke Q2 etc. muses] Muses Q2 etc. 

1004 marde.] marde, Q2, 1005 Walg.] VValg. Q3 

1006 Monsieur] Monsiur Qi Vous] Voas Q2, 1007 saies] sayes Q2 etc. 

do] doe Q2 etc. 1008 Mouche] mouche Q2 etc. 1009 Mari] 

Man Q2 sister;] sister: Q3 that's] thats Q2 etc. 

Antlwnie,] Anthony. Q2 etc. lOio answers,] answers Q2 etc. 

woer] woer, Q2 etc. ion Vous n'cntens] Vous'n enfcns Qs 

1012 HOW?] nom. Q2 etc. 1013 Math] yiath Q2 Shooes] shooes Q2 etc. 

1014 been] beene Q2 etc. 1016 Madatne] Madame Q2 etc. 

square] sqarc Qi 1018 been] beene Q2 etc. 1019 midst] middst Q2 etc. 


But as you haue begun. I pray proceed 
To question with this Countriman of yours. 

Delio. Dat me sal doe tres beien, but de bella Madona 
de iune Gentlewoman do monstre some singe of amour to 
speake lot me, epurce monsieur, mee sal say but two tree 1025 
fowre fiue word to dis francois; or sus Monsieur Le 
mouche en quelle par tie de Fr amice e sties voiis ne? 

Haru. Fraufice. 

Heigh. Ned. 

Walg. Sbloud, let mee come. 1030 

jNIaister Pisaro, we haue occasion of affaires, 
Which calles vs hence with speed ; wherefore I pray 
Deferre this businesse till some fitter time, 
And to performe what at the Exchange we spoke of. 

Antho. A blessing on that tongue, saith Anthony. 1035 

Pisa. Yes marry Gentlemen, I will, I will. 
Aluaro to your taske, fall to your taske, 
He beare away those three, who being heere, 
Would set my Daughters on a merry pin : 
Then chearely try your luckes; but speake, and speed, 1040 
For you alone (say I) shall doe the deed. 

1021 But as] So Q2 etc. Qi reads Bu tas begun,] begun Q3 pray] Pray Q2 

1022 Countriman] Countreman Q2 etc. 1023 Delio.] Delion. Qz etc. 

tres beien] tresbeien Q2 tresb ien Q2 bella] Bella Q2 etc. 1025 me] mee Q2 etc. 
sal] sail Qs 1026 francois] Francois Q2 etc. Monsieur] monsieur Q2 
monsier Q3 1027 partie] party Q3 Frannce] fraunce Q3 esties] est ies Q3 

1030 Walg.] Walg Q3 Sbloud, let mee] What, let me Q2 etc. 

1031 Maister] Master Q2 etc. 1032 calles] calls Q3 
1033 Deferre] D ferre Q3 

1035 Anthony.] Anthony, Q2 etc. 1037 Aluaro] Alvaro Q3 

1038 heere] here Q2 etc. 

1039 Daughters] daughters Q3 1041 s.A.Walgraue] VValgraueQs Higham] 
Heigham Q3 


Exeunt Pisaro, Haruy, IValgraue, and HigJiam. 

Frisc. Heare you M. Mouse, did you dine to day at 
Paules with the rest of the Gentlemen there ? 

Antho. No sir, I am yet vndined. 

Frisc- Mee thinkes you should haue a reasonable good 1045 
stomacke then by this time, as for me I can seel nothinge 
within me from my mouth to my Cod-peece but all Em- 
ptie, wherefore I thinke [it] a peece of wisdome to goe in and 
see what Maudelin hath prouided for our Dinner maister 
Mouse will you goe in? 1050 

Antho. With as good a stomacke and desire as your 

Frisc. Lett's passe in then (selfe. 

Exeunt Frisco, and Anthonie. 

J^'anda. Han seg you Dochtor, vor vat cause, voer why 
l:>ede also much grooterlie strange. Ic seg you wat, if datt 
ghy speake to me. is datt ghy loue me. 1055 

Lauren. 1st that I care not for you, ist that your breath 
stinckes, if that your breath stinckes not, you must learne 
sweeter English or I shall neuer vnderstand your suite. 

Delion. Pardone moy IMadame. 

1042 you] you, Q2 etc. 1043 Paules] Paules, Q2 Paules, Q2, 

1045 Frisc] Frisc. Q2 etc. Seemingly Frise ■ in W 

1046 time,] time: Q2 etc. me] me, Q2 mee, Qz 

nothinge] nothing Q2 etc. 1047 me] me, Q2 etc. mouth] Mouth Q2 etc. 
Cod-peece] Cod-peece, Q2 etc. Em-] em- Q2, 1048 ptie,] ptie: Q2 etc. 
it] inserted Q2 etc. peece] piece Q3 wisdome] wisdome, Q2 
wisedome, Q3 1049 Maudelin] Maudelin Q2 etc. prouided] 
provided Q3 Dinner] Dinner. Q2 dinner. Q3 maister] Master Q2 
M. Q3 1050 Mouse] Mouse, Q2 etc. 

1051 stomacke] stomacke, Q2 etc. desire] desire, Q2 etc. 

1052 Lett's] Let's Q2 etc. then] then. Q2 etc. 

1053 Dochtor] Doctor Q3 1054 wat] war Q3 datt] dart Q3 

1055 datt] dart Q3 1057 stinckes,] stinckes; Q2 

1056 moy] moy, Q2 etc. Madame] Madam Q3 
1058 English] English, Q2 etc. neuer] never Q3 


MatJi. \\'ithall my heart so you offend no more. 1060 

Dclio. Is dat an offence to be amorous di one belle Gen- 
tlea woman. 

Math. I sir see your Belle Gentle-woman cannot be a- 
morous of you. 

Mar. Then if I were as that belle Gentlewomans louer, 1065 
I would trouble her no further, nor be amorous any longer. 

A liiur. IMadona yet de Belleza of de face beutie def orme 
of all de Corpo may be such datt no perriculo, nor all de 
mal shaunce, can make him leaue hir dulce visage. 

Lanr. But signor Aluaro if the periculo or mal shaunce 1070 
were sutch, that she should loue and Hue with an other, 
then the dulce visage must be lefte in spite of the louers 
teeth, whilst he may whine at his owne ill fortune. 

Vanda. Datts waer matresse, for it is vntrue saying, dey 
wint he taught dey verleift lie scrat sin gatt. 1075 

Math. And I thinke to are like to scratch there but ne- 
uer to claw any of my Sisters loue away. 

J^and. Dan sal your sistree do gainst her vaders will, 
for your vader segt dat ick sal heb har vor mine wife. 

Laur. I thinke not so sir, for I neuer heard him say so, 1080 
but He goe in and aske him if his meaning be so. 

1060 Withall] With all Q2 etc. heart] heart, Qz etc. 

1061 dat] dar Q3 offence] offence, Q2 etc. 1062 tleawoman.] 
tleawoman ? Q2 etc. 1063 belle] Belle Q2 etc. be] bee Q3 1065 belle] Belle Q2 
1066 longer.] longer Q3 1067 Aluar.] Alua. Q2 etc. 

face] Face, Q2 etc. beutie] beuty Q3 1068 such] such, Q2 etc. 

1070 signor] Signior Q2 etc. Aluaro] Aluaro, Q2 etc. 

periculo] perriculo Q2 etc. 1071 sutch] such Q3 she] shee Q2 etc. 

an other] another Q2 etc. 

1072 be] bee Q2 etc. louers] lovers Q3 1073 whilst] whilest Q2 etc. 

1074 I'anda.] Vand. Q2 etc. 1075 he] de Q2 etc. 

1076 are] y'are Q2 etc. there] there, Q2 etc. 1077 Sisters] 

sisters Q2 etc. 1078 do] doe Q2 etc. vaders] Vaders Q2 etc. 

1079 vader] Vader Q3 1080 neuer] never Qi 


Mari. Harke sister signer Aliiaro sayth, that I am the 
fayrest of all vs three, 

Laur. Beleeue him not for heele tell any lie. 
If so he thinkes thou mayst be please! thereby, 1085 

Come goe with me and neere stand pratinge here, 
I haue a iest to tell thee in thine eare, 
Shall make you laugh : come let your signer stand, 
I know there's not a Wench in all this Towne, 
Scoffes at him more, or loues him lesse then thou. 1090 

Maister Vandalle, as much I say for you; 
If needes you marry with an English Lasse, 
Woe her in English, or sheele call you Asse. 

Math. Tut that's a French cogge ; sure I thinke. 
There's nere a Wench in Fraiince not halfe so fond, 1095 

To woe and sue so for your iMounsership. 

Delio. Par may foy Madame, she does tincke dare is 
no Wenche so dure as you : for de Fillee was cree dulce, 
tendre, and amarous for me to loue hir ; now me tincke dat 
I being such a fine man, you should loua me. 11 00 

Mathe. So thinke not I, sir. 

Delio. But so tincke esh oder Damosellas. 

Mathe. Nay He lay my loue to your commaunde, 

1082 sister] sister, Q2 etc. signer] signior Q2 etc. 1083 three,] three. Q2 
1084 not] not, Q3 lie] lye Q2 etc. 1085 mayst] mayest Qz 
pleasd] pleas'd Q3 1086 neere] nere Q2 etc. pratinge] prating Q2 etc. 
here] heere Q3 1088 come] com Q^ signor] signior Q2 etc. 
1091 Maister] Master Q2 etc. Vandalle] Vandalc [ ?] Q3 
say for you] say to you Q2 etc. 1092 needes] nedes Q2 English] 
English Q2, 1093 English] English Q3 1094 Math] Math Q2 
French] Franch Q2 French Q2, cogge] cog Q3 T095 Franncc] 
Frence Q2 France Q3 1097 may] ma Q2 etc. she] shee Q2 etc. 
tincke] tinke Q2 etc. 1098 Wenche] Wench Qj, Fillee] Fille Q2 etc. 
1099 amarous] amorous Q2 etc. hir;] hir: Q2 etc. me] mee Q3 
HOC should] shold Qz etc. me.] me, Q2 etc. iioi Mathe] Math Q2 
MathQ3 1103 Mathe] Math Q2 Math Q3 Nay] Nay, Q2 etc. He 
lay] I lay Q3 commaunde] commande Q2 etc. 


That my Sisters thinke not so : How say you sister Mall? 

Why how now Gentlemen, is this your talke? 1105 

What beaten in plaine field : where be your IMaydes ? 

Nay then I see their louing humor fades, 

And they resigne their intrest vp to mee; 

And yet I cannot serue for all you three : 

But least two should be madd, that I loue one, mo 

You shall be all alike, and He loue none : 

The world is scant, when so many lacke Dawes, 

Houer about one Coarse with greedy pawes : 

Yf needes youle haue me stay till I am dead. 

Carrion for Crowes, Mathca for her Ned: mS 

And so farewell, wee Sisters doe agree. 

To haue our willes, but nere to haue you three. Exeunt. 

Delia. Madama attendez, Madama: is she allef doe she 
mockque de nows in such sortf 

Vand. Oh de pestilence, noe if datick can neitedese En- 1120 
glese spreake vel, it shal hir Fader seg how dit is to passe 

Enter Pisaro. 

Alnar. Xe parlate, see here signors de Fader. 

Pisa. Now Friends, now Gentlemen, how speedes your 
worke; haue you not found them shrewd vnhappy girls.^ 1125 

1 104 Sisters] sisters Q2 etc. Mall] 'Mall Q2 1105 Why] Why, Q2 etc. 

1105 talke?] talkei Qi talke; Q2 etc. 1106 Maj-des] maydes Q2 etc. 
1 107 Nay] Nay, Q2 etc. their] there Q2 1108 mee] me Q3 

1 1 10 least] lest Q3 madd] mad Q3 11 12 lacke Dawes] lackes-Dawes Q3 

1114 Yf] If Q2 etc. 1115 for] So Q2 etc. sor Qi 

1116 wee] we Q2 etc. Sisters] sisters Q3 11 17 Exeunt.] Exeunt Q2 

\i\^ attendez] zAonhiiuXQT, she] shee Q2 1 119 mockque] mocque Q2 etc. 

news] uous Q2 etc. 1120 noe] possibly hoe with broken h Qi 

hoe Q2 ho Q3 dat ick] datick Q2 etc. neite] neit Q2 etc. 

dese] de se Q2 etc. 1121 it] ick Q2 etc. shal] sal Q2 etc. 

hir] her Q2 etc. dit] omitted Q2 etc. 1123 Aluar] Ahia Q2 etc. 

here signors] heere signiors Q2 etc. 1124 speedes] speeds Q2 etc. 

1125 girls] Girles Q2 etc. 


Valid. Alester Pisaro, de Dochtcr maistris Laiircntia calle 
me de Dyel, den Asse, for that ic can neit englesh spreken. 

Alua. Ande dat we sal no parler, dat we sal no hauar 
den for de wiue. 

Pisa. Are they so lusty? Dare they be so proiide? 1130 
Well, I shall find a time to meete with them : 
In the meane season, pray frequent my house. 

Enter Frisco running. 
Ho now sirra, whither are you runningf 

Frisc. About a little tiny businesse. 

Pisa. What businesse, Asse? ii35 

Frisc. Indeed I was not sent to you : and yet I was sent 
after the three Gen-men that din'd here, to bid them come 
to our house at ten a clocke at night, when you were abed. 

Pisa. Ha, what is this.^ Can this be true ? 
What, art thou sure the Wenches bade them come ? 1 1 40 

Frisc. So they said, vnlesse their mindes be changed 
since : for a Woman is like a Weather-cocke they say, & I 
am sure of no more then I am certaine of : but He go in and 
bid them send you word, whether they shall come or no. 

Pisa. No sirra, stay you heere; but one word more: 1145 
Did they appoint the come one by one, or else al together.^ 

Frisc. Altogether : Lord that such a young man as you 

1126 Vand.] Vanda. Q^ Laurcntia] Laiircntia, Q2 etc. 

1127 me] omitted Q2 etc. that] dat Q2 etc. ic] ick Q2 etc. 
englesh spreken] English spreaken Q2 etc. 1128 dat] dot Qs 
we sal] we sail Q2 etc. we sal] wee sal Q3 1129 wiue.] wiue Q2 
1 131 find] finde Q2 etc. mecte] meet Q2 etc. 

1133 Ho] Ho, Q2 etc. 1 135 businesse] bussinesse Q2 

1 136 Frisc] Frisc H2 1137 din'd] din'de Q2 etc. 

1140 bade] bede Q2 etc. 1141 be] bee Q2 etc. 1142 &] and Q2 etc. 

1 143 go] goe Q2 etc. 1 144 whether] whether Q3 come] com Q3 

1 145 heere] here Q2 etc. 

1146 the] them Q2 etc. al together] altogether Q2 etc. 

1147 a young] a yoong Q2 an old Q3 



should haiie no more witt : why if they should come toge- 
ther, one could not make rome for them ; but comming one 
by one, theyle stand there if there were twenty of them. 11 50 

Pisa. How this newes glads me, and reuiues my soule : 
How say you sirs, what will you haue a iest worth the 
telling; nay worth the acting: I haue it Gentlemen, 
I haue it Friends. 

Aliia. Signor Pisaro, I prey de gratia watte maneire sal 1 1 55 
we haue? wat will the parler.^ wat bon doe you know 
Signor Pisaro, dicheti noi signor Pisaro. 

Pisa. Oh that youth so sweete, so soone should turne 
to age ; were I as you, why this were sport alone for me to 
doe. 1 160 

Harke yee, harke yee ; heere my man, 
Saith, that the Girles haue sent for Maister Hcigham 
And his two friends ; I know they loue them dear, 
And therefore wish them late at night be heere 
To reuell with them : Will you haue a iest, 1 165 

To worke my will, and giue your longings rest : 
Why then M. Vandallc, and you two, 
Shall soone at midnight come, as they should doe, 
And court the Wenches ; and to be vnknowne, 
And taken for the men, whom they alone 1 1 70 

So much affect; each one shall change his name: 

1 148 witt] wit Q2 etc. 1 149 ther,] ther Qt, 

1151 me] mee Qj, 1152 sirs,] sirs; Q2 etc. 1153 nay] 

nay, Q2 etc. 1155 Signor] Signior Q2 etc. watte] wat Q2 etc. 

1156 wat will] wat will Q3 1157 Signor] Signior Q2 etc. 

signor] signior Q2 etc. 1158 sweete] sweet Q2 etc. 1159 were] were Q^ 

why] why Q3 me] mee Q2 1161 yee] he Q^ in both instances. 

heere] here Q2 etc. man,] man Q2 etc. 1162 Saith,] Saith Q3 

Maister Heigham] master Hcigham, Q2 etc. 1163 dear] deare Q2 etc. 

1 164 heere] here, Q2 etc. 1165 with] with Q3 1166 worke] 

worke Q3 will] will Qi ^167 then M.] then, master Q2 etc. 

Vandallc,] Vandalle Q3 1170 whom] whom Q3 



Maister Vandalle, you shall take Heigham, and you 

Younge Haruie, and monsieur Dclion Ned, 

And vnder shadowes be of substance sped : 

How like you this deuice? how thinke you of it? 1 175 

Delia. Oh de braue de gaUiarde deiiise : me sal come by de 
nite and contier faire de Anglois Gentlehomes dicte nous 
ainsi monsieur Pisaro. 

Pisa. You are in the right sir. 

Alua. And I sail name me de signor Haruy, ende mon- 1 180 
sieur Dclion sail be piculo signor Ned, ende when mado- 
na Laurcntia sail say, who be dare ? mister Vandalle sail say, 
Oh my sout Laide, hier be your loue Alestro Heigham : Is 
no dis de brauissime, maister V^andallc ? 

Vanda. Slaet vp den tromele, van ick sail come 1185 

Vp to de camerken, wan my new Wineken 
Slaet vp den tromele, van ick sail come. 

Pisa. Ha, ha, ha, maister Vandalle, 
I trow you will be merrie soone at night. 
When you shall doe in deed, what now you hope of. 1 190 

Vanda. I sail v seg vader, Ick sail tesh your Daughrer 
such a ting, make her laugh too. 

117a Maister] Master Q2 etc. 

1173 Younge] Young Q2 etc. Haruie] Haruy Qs 

monsieur Delion] Monsieur Delion, Q2 etc. 1174 shadowy] 

shadowes, Q2 1175 deuice] device Qz ii77 and] & Q2 etc. 

1 177 contier] countier Q2 etc. faire] faite Q3 

1 180 signor] signior Q2 etc. 1181 sail] sal Q2 etc. signor] ^ 

signior Q2 etc. 1182 sail] sal Q2 etc. who] who Qi 

mister] M. Q2 etc. sail] sal Q2 etc. 1184 maister] master Q2 etc. 

Vandalle}] Vandalle. Q2 etc. 1185 sail] sal Qz etc. 

1 186 wan] wan Q3 1187 sail] sal Q2 etc. 1188 maister] master Q2 etc. 

1 189 will] will Q3 merrie] meery Q2 merry Q3 1190 doe] do Q2 

in deed] indeed Q2 etc. what] what Qz 1191 sail] sal Q2 etc. 

V seg] vseg Q2 etc. sail] sal Q2 etc. Daughrer] Daughter Q2 

daughter Q3 



Pisa. Well my Sonnes all, (for so I count you shall) 
What we haue heere deuis'd, prouide me for: 
But aboue all, doe not (I pray) forget 1195 

To come but one by one, as they did wish. 

Vanda. Mar hort ens vader, ick veite neite de wecke to 
your houis, hort ens sail maister Frisco your manneken 
come to calle de me, and bring me to v house. 

Pisa. Yes marry shall hee : see that you be ready. 1200 
And [To Frisco] at the hower of eleuen sone at night: 
Hie you to Bucklcrshurie to his Chamber, 
And so direct him straight vnt® my house : 
My Sonne AUiaro, and monsieur Delion, 
I know, doth know the way exceeding well : 1205 

Well, weele to the Rose in Barken for an hower : 
And sirra Frisco, see you proue no blabbe. 

Exeunt Pisaro, Aluaro, Delion, and Vandalle. 
Frisc. Oh monstrous, who would thinke my Maister 
had so, much witte in his old rotten budget : and yet 
yfayth he is not much troubled with it neither. Why what 12 10 
wise man in a kingdome would sende me for the Dutch- 
man? Does hee thinke He not cousen him : Oh fine, He 

1 193 Sonnes] sonnes Q3 1194 we] we Qt, deuis'd] deuisde Q2 etc. 

1 196 wish] wish Q3 1197 wecke] weye Q2 weye Q3 

1 198 sail] sal Q2 etc. maister] master Q2 etc. 1199 calle] 

call Q2 etc. 1200 Pisa.] Pisa P H3 hee] he Q2 etc. 

1201 eleuen] a eleuen Q2 etc. sone] soone Q2 etc. 

1202 Buiklersburie] Bucklersbury Q3 1203 house] House Q2 
Aluaro] Aluaro Q3 monsieur] Monsieur Q2 1205 know,] know Q2 etc. 
way] way Q3 well] well Q3 1206 weele] weel Q2 vveel Q3 
Barken] Barken Q3 hower] howre Q2 houre Q3 1207 sirra] 

sira Q2 etc. blabbe] blab Q2 etc. 1207 s.d. Pisaro] Pisa Q3 
Aluaro] Aluaro Q3 and] & Q2 etc. 1208 who] who Q3 would] 
would Qz Maister] Master Q2 master Qi 1209 witte] wit Q2 etc. 

1210 yfayth] yfaith Q2 etc. he] hee Q2 with] with Q3 

121 1 kingdome] Kingdome Q2 etc. would] would Q3 sende] 
send Q2 etc. me] mee Q2 etc. 121 1-2 Dutchman] Dutchman Q3 

1212 hee] he Qz him:] him? Q2 him,; Q3 



haue the bratiest sport : Oh braue, He haiie the gallentest 
sport : Oh come ; now if I can hold behinde, while I may 
laugh a while, I care not: Ha, ha, ha. 1-15 

Enter Anthonie. , ., ^ 


Antho. \Vhy how now Frisco, why laughest thou so har- 

Frisc. Laugh ]\I. Mouse : Laugh, ha, ha, ha. ( merry .^ 

AntJw. Laugh, why should I laugh/ or why art thou so 

Frisc. Oh maister Mouse, maister Mouse, it would make 1220 

any Mouse, Ratte, Catte, or Dogge, laugh to thinke, what 

sport we shall haue at our house sone at night : He tell you, 

all, my young Mistresses sent me after 'M.He{gJia})i and his 

friendes, to pray them come to our house after my old 

Maister was a bed : Now I went, and I went ; and I runne, 1225 

and I went : and whom should I meete, but my ]\Iaister 

and ]\L Pisaro and the Strangers ; so my Maister very wor- 

shipfully (I must needs say) examined me whither I went 

now ? I durst not tell him an vntruth, for f eare of lying, but 

told him plainely and honestly mine arrande : Now who 1230 

would thinke my Maister had such a monstrous plaguie 

1213 gallentest] gallantest Q2 etc. 1214 come;] come: Q3 
bchinck] behind Q3 1217 Antho.] Antho. Q3 Why] WWhy Qt, 
hartily] heartily Qi etc. 1218 Laugh] Laugh, Q2 etc. 
Mouse:] Mouse; Q2 etc. Laugh, ha] Laugh: Ha Qz etc. 
1219 Antho.] Antho. Q3 Laugh.] Laugh: Q2 etc. 1220 maister] 
Master Q2 etc. (both occurrences) would] would Q3 
1221 Ratte, Catte] Rat, Cat Q2 etc. 1222 we] we Q3 night:] 
night. Q2 etc. sone] soone Q2 etc. you,] you : Q2 etc. 

1223 all,] all Q2 etc. me] mee Q3 Heighain] Hcigham, Q2 etc. 

1224 old] olde Q2 1225 Maister] Master Q2 etc. bed:] bed. Q2 etc. 
1226 went:] went; Q2 etc. Maister] ^L^ster, Q2 etc. 1227 M.] 
Master Qi Pisaro] Pisaro, Q2 etc. Strangers;] Strangers: Q2 etc. 
Maister] Master Q2 etc. 1228 needs] needes Q2 etc. me] mee Q2 
went] went? Q2 went: Q3 1229 now?] now Q2 etc. lying.] 
lying; Q- etc. 1230 arrande:) arrand. Q2 etc. 1231 Maister] 
Master Q2 etc. monstrous] mostrous Qi 



witte, hee was as glad as could be ; out of all scotch and 
notch glad, out of all count glad ? and so sirra he bid the 
three Vplandish-men come in their steades and woe my 
young Mistresses: Now itmade mee so laugh to thinke 1235 
how they will be cousend, that I could not follow my Mai- 
ster : But He follow him, I know he is gone to the Tauerne 
in his merry humor : Now if you will keepe this as secret 
as I haue done hitherto, wee shall haue the brauest sport 
soone, as can be. I must be gone, say nothing. [^Exit. 1240 

Antlio. Well, it is so : 
And we will haue good sport, or it shall go hard ; 
This must the Wenches know, or all is marde. 

Enter the three Sisters. 
Harke you ;Mis. Moll, ]vlis. Laurentia, :M»s. Matt, 
I haue such newes (my Girles) will make you smile. 1245 

Mari. What be they Maister, how I long to heare it? 

Antho. A Woman right, still longing, and with child, 
For euery thing they heare, or light vpon : 
Well, if you be mad Wenches, heare it now, 
Now may your knaueries giue the deadliest blow 1250 

To night-walkers, eauese-droppers, or outlandish loue. 
That ere was stristen. 

Math. Anthony Mowche, 

1232 witte,] wit? Q2 etc. was] was Qz be] bee Q2 etc, 

1233 glad?] glad: Q2 etc. and] And Q2 etc. he] hee Q2 etc. 

1234 steades] steads, Q2 etc. woe] woe Qs 1235 Mistresses:] 
Mistresses. Q2 etc. itmade] it made Q2 etc. laugh] laugh, Q2 etc. 
1236 be] bee Q3 cousend] cousen'd Q2 etc. 1236-7 Maister] 
Master Q2 etc. 1237 he] hee Q2 etc. 123S humor :] humour. Q2 etc. 
1240 be] bee Q3 (both occurrences) gone,] gone: Q2 etc. 

Exit.] added Q2 etc. 1241 Antho.] Antho. Q3 so:] so, Q2 etc. 

1242 go hard;] goe hard: Q2 etc. 1243 marde.] mar'd' Q2 mar'd. Q3 

1244 Mis. Mis. Mis.] Mis Mis. Mis. Q2 

Mi. Mi. Mi. Qs Matt,] Matt. Q2 etc. 1247 Antho.] Antho. Q3 

Woman] woman Q3 1248 euery] every Q3 1249 Well.] Well, Q2 etc. 

1252 stristen] stricken Q2 etc. 1253 Anthouy] Anthony Q3 


Moue but the matter; tell vs but the iest. 

And if you find vs slacke to execute, 1255 

Neuer giue credence, or beleeue vs more. (loues, 

Antho. Then know : The Strangers your Outlandish 
Appoynted by your Father, comes this night 
In stead of Haruie, Heigham, and young Ned, 
Vnder their shaddowes to get to your bed : 1260 

For Frisco simply told him why he went : 
I need not to instruct, you can conceiue, 
You are not Stockes nor Stones, but haue some store 
Of witte and knauerie too. 

Mathe. Anthony, thankes 1265 

Is too too small a guerdon for this newes ; 
You must be English : \\q\\ sir signor sowse, 
lie teach you trickes for comming to our house. 

Laur. Are you so craftie, oh that night were come. 
That I might heare my Dutchman how hee'd sweare 1270 

In his owne mother Language, that he loues me : 
Well, if I quit him not, I here pray God, 
I may lead Apes in Hell, and die a Mayde; 
And that were worser to me then a hanging. 

Antho. Well said old honest huddles; here's a heape 1275 
Of merrie Lasses: Well, for my selfe, 
He hie mee to your Loners, bid them maske 
With vs at night, and in some corner stay 
Neere to our house, where they may make some play 

1257 Antho.] Antho. Qs 1258 Appoynted] Appointed Q3 

1259 Haruie] Hariiy Q3 1264 knauerie] knauery Q3 

1265 Mathc] Math. Q3 Anthony] .\nthony Q^ 

1267 signor] siginor Q2 etc. 

1269 craftie] chaftie Q2 crafty Q3 1270 Dutrhmau] Dutchman Q3 

1273 Mayde;] Mayde : Q2 etc. 

1275 Antho.] Antho. Q3 huddles;] huddles: Q2 etc. 

1276 merrie] merry Q3 1277 mee] me Q2 etc. Louers] Lovers Q3 


Vpon your riuals, and when they are gon, 1280 

Come to your windowes. 

Mari. Doe so good Maister. 

Antlio. Peace, begon; for this our sport, 
Some body soone will moorne. Exeunt. 

[Act III. Scene I. A Room in Pisaro's House.] 
Enter Pisaro[, Anthony, and the three Sisters]. 

Pisa. How fauourable Heauen and Earth is scene, 1285 
To grace the mirthfull complot that is laide, 
Nights Candles burne obscure, and the pale Moone 
Fauouring our drift, lyes buried in a Cloude : 
I can but smile to see the simple Girles, 

Hoping to haue their sweete-hearts here to night, 1290 

Tickled with extreame ioy, laugh in my face : 
But when they finde, the Strangers in their steades, 
Theyle change their note, and sing an other song. 
Where be these Girles heere? what, to bed, to bed : 
Mazi'dlin make fast the Dores, rake vp the Fire ; 1295 

Gods me, tis nine a clocke, harke Bow-bell rings : Knocke. 

1280 riuals,] Riuals; Q2 riuals: Q2, gon] gone Q2 etc. 

1282 Mari.] Mari, Q^ so] so, Q2 etc. Maister] Master Q2 etc. 

1283 Antho.] AntJw. Qs begon] be gone Q2 etc. 

1284 moorne] mourne Q2 etc. 

1285 Heauen] heauen Q3 Earth] earth Q3 1286 laide] layd Q2 etc. 
1288 Cloude:] Cloud. Q2 etc. 1290 sweete-] sweet- Q2 etc. 

1292 finde,] finde Q2 etc. Strangers] strangers Q3 steades] 

steads Q2 etc. 1293 an other] another Q2 etc. 1294 heere] here Q2 etc. 

1295 Mawdlin] Maudlin Q2 etc. Dores] Doores Q2 doores Q3 

Fire;] Fire. Q2 fire. Q3 1295-6 Q2 etc. insert Enter the three 

Sisters. 1296 tis] 'tis Q2 etc. a clocke,] aclock ; Q2 etc. 

harke] harke, Q2 etc. Bow-bell] Bow-bell Q3 Knocke] Knocks Q2 etc. 


Some looke downe below, and see who knockes : 

And harke you Girles, settle your hearts at rest, 

And full resolue you, that to morrow morne, 

You must be wedd to such as I preferre; 1300 

I meane Aluaro and his other friendes : 

Let me no more be troubled with your nayes. 

You shall doe what He haue, and so resolue. 

Enter Moore. 

Welcome M, Moore, welcome, 

What winde a-gods name driues you foorth so latef 1305 

Moore. Fayth sir. I am come to trouble you, 
My wife this present night is brought to bed. 

Pisa. To bed, and what hath God sent you.^ 

Moor. A iolly Girle, sir. 

Pisa. And God blesse her: But what's your will sir? 1310 

Moor. Fayth sir, my house being full of Friends, 
Such as (I thanke them) came to see my wife? 
I would request you, that for this one night, 
My daughter Susan might be lodged here. 

Pisa. Lodge in my house, welcome withall my heart, 13 15 
Matt harke you, she shall lye with you. 
Trust me she could not come in fitter time. 
For heere you sir. to morrow in the morning. 
All my three Daughters must be married, 

1297 knockes:] knocks. Q2 etc. 1299 morne.] morne Q2 etc. 
1300 wedd] wed Q2 etc. 1301 Aluaro] Aluaro, Q2 etc. 
friendes] friends Q2 etc. 1302 nayes.] Nayes; Q2 etc. 
1304 welcome,] welcome : Q2 etc. 1305 a-gods] a gods Q3 
1306 Moore] Moore, Q3 Fayth] 'Fayth Q2 Faith Q3 
1308 bed,] bed ; Q2 etc. 1309 Moor.] Moore. Q2 etc. 

131 1 Fayth] Faith Q3 Friends] friends Q3 

1312 wife?] wife, Q2 Wife, Q2 1314 Susan] Susau Q3 

here] heere Q3 1315 withall] with all Q3 heart,] heart. Q2 etc. 
1316 lye] lie Qs 1318 heere] heare Q3 



Good maister Moore lets haue your company, 1320 

\Miat say you sir ; Welcome honest friend. 

Enter a Seruant. 

Moor. How now sirra whats the newes with youf 

Pisa. AlozvcJie heare you, stirre betimes to morrow, 
For then I meane your Schollers shall be wed : 
What newes, what newes man that you looke so sad, 1325 

Moor. Hee brings me word my wife is new falne sicke. 
And that my daughter cannot come to night : 
Or if she does, it will be very late. 

Pisa^ Beleeue me I am then more sorry for it. 
But for your daughter come she soone or late, ^330 

Some of vs will be vp to let her in. 
For heere be three meanes not to sleepe to night : 
Well you must be gone ? commende me to your wife, 
Take heede how you goe downe. the staires are bad, 
Bring here a light. 1335 

Moor. Tis well I thanke you sir. Exit. 

Pisa. Good night maister Moore farwell honest friend, 
Come, come to bed, to bed tis nine and past. 
Doe not stand prating here to make me fetch you. 
But gette you to your Chambers. Exit Pisaro. 1340 

Antho. Birlady heres short worke, harke you Girles, 
Will you to morrow marry with the strangers. 

1320 maister] master Q2 etc. company,] company. Q2 etc. 

1321 Welcome] welcome Q3 1321 s.d. Seruant] Servant Q3 

1322 sirra] sirra, Q2 etc. whats] what's Q2 etc. 

1325 man] man, Q2 etc. sad,] sad. Q3 1326 Moor.} Moor. Q2 
Hee] He Q3 wife] Wife Q2 1327 daughter] daughter, Q2 
1329 Pisa,] Pisa. Q2 etc. 1333 gone?] gone; Q3 wife] Wife Qs 
commende] commend Q2 etc. 1335 here] heere Qs 
1336 Moor.] Moor. Q2 1337 maister] master Q2 etc. 
Moore] Moore, Q2 etc. 1338 bed] bed, Q2 etc. 
1339 here] heere Q3 1340 gette] get Q3 
1342 strangers.] strangers? Q2 strangers: Q^ 


Mall. Yfayth sir no He first leape out at window, 
Before Marina marry with a stranger, 

Antlio. Yes but your father sweares, you shall haue one. 1345 

Ma. Yes but his daughters, swears they shall haue none, 
These horeson Canniballs, these Philistines, 
These tango mongoes shall not rule Ore me, 
He haue my will and Ned, or He haue none. 

Antho. How will you get himf how will you get him ? 1350 
I know no other way except it be this, 
That when your fathers in his soundest sleepe. 
You ope the Dore and runne away with them, 

All sisters. So wee will rather then misse of them. 

Antho. Tis well resolude yfayth and like your selues, 1355 
But heare you ? to your Chambers presently, 
Least that your father doe discry our drift, Exeunt Sisters. 
Mistres Susan should come but she cannot. 
Nor perhaps shall not, yet perhaps she shall. 
Might not a man conceipt a prettie iest? 1360 

And make as mad a Riddle as this is. 
If all thinges fadge not, as all thinges should doe, 
Wee shall be sped y'fayth, Matt shall haue hue. 

1343 no] no, Q2 etc. window] Window Q3 

1344 stranger,] stranger. Q2 etc. 

1345 Autho.] Antho. Q2, 1346 daughters,] daughters Q2 etc. 
swears] sweares, Q2 sweare, Q2, none,] none Q2 

none? Qi I347 Philistines] Philistines Q3 

1348 Ore] ore Q3 1350 Antho.] Autho. Q3 1351 way] way, Q3 

1352 fathers] father's Q3 1353 Dore] doore Q3 them,] them. Q3 

1354 All sisters] All Sisters Q2 All Sisters Q3 wee] we Q2 etc. 

1355 Antho.] Antho. Q3 resolude] resolued Q2 etc. yfayth] yfaith, Q3 

1357 Least] Lest Q3 Sisters.] Sisters Q2 etc. 

1358 Mistres] Mistris Q2 etc. S'HJa;!] Susan Q3 
1360 prettie] pretty Q3 

1362 thinges] things Q2 etc. (both occurrences) 1363 Wee] We Q2 etc. 
sped] sped, Q2 etc. y'] omitted Q2 etc. Matt] yiatt Q2 
hue) her due Q2 etc. 


[Scene 1 1. Cornhill.] 
Enter Vandalle and Frisco. 

Vand. Wear be you mester Frisco. 

Frisc. Heresir, here sir, now if I could cousen him, take 1365 
heede sir hers a post. 

Vand. Ick be so groterly hot, datt ick swette. Oh wen 
sal we come dare. 

Frisc. Be you so hotte sir, let me carry your Cloake, I 
assure you it will ease you much. 1370 

Vand. Dare here, dare, tis so Darke ey can neit see. 

Frisc. I, so so : now you may trauell in your Hose and 
Doublet : now looke I as like the Dutchman, as if I were 
spit out of his mouth : He straight home, & speake groote 
and broode, and toot and gibrish; and in the darke He 1375 
haue a fling at the Wenches. Well, I say no more ; farewell 
M. Mendall, I must goe seeke my fortune. Exit Frisco. 

Vanda. Mester Frisco, mester Frisco, wat sal you no speak ; 
make you de Foole ? Why mester Frisco ; Oh de skellum, 
he be ga met de Cloake, me sal seg his mester, han mester 1380 
Frisco, waer sidy mester Frisco. Exit Vandal. 

[Scene III. Before Pisaro's House.] 

Enter Haruie, Heigham, and Walgraue. 
Haruy. Goes the case so well signor bottle-nose ? 
It may be we shall ouerreach your drift; 

1366 sir] sir, Q3 hers] heres Q3 

1367 swette] sweette Q2 etc. wen] when Q3 

1371 Vand.] Vand H 1372 so so] so, so Q2 so so, so Q3 1373 Dutchman] 

Dutchman Q3 w-ere] were Q3 1374 &] and Q2 etc. 

^377 Mctidall] Mendall Q2 1378 Vanda.] Vand. Q3 

1381 Frisco] Frico Q3 1381 s.d. Haruie] Haruy Q3 

Walgraue] Walgraue Q3 1382 Haruy.] Haru. Q3 well] well Q3 

signor] signior Q3 1383 drift;] drift? Q3 


This is the time the Wenches sent vs word 

Our bumbast Dutchman and his mates will come. 1385 

Well neat Italian, you must don my shape : 

Play your part well, or I may haps pay you. 

What, speechlesse Ncdf fayth whereon musest thou? 

Tis on your French coriuall, for my life : 

Hee come cte vostrc, and so foorth, 1390 

Till he hath foysted in a Brat or two? 

How then, how then.^ 

JValg. Swounds He geld him first, 
Ere that infestious loszell reuell there. 

Well Matt, I thinke thou knowst what Ned can doe; 1395 

Shouldst thou change Ned for Noddy, mee for him, 
Thou didst not know thy losse, yfayth thou didst not. 

Heigh. Come leaue this idle chatte, and lets prouide 
Which of vs shall be scar-crow to these Fooles, 
And set them out the way.^ 1400 

IValg. Why that will I. 

Haru. Then put a Sword into a mad-mans hand : 
Thou art so hasty, that but crosse thy humor, 
And thou't be ready crosse them ore the pates : 
Therefore for this time. He supply the rome. 1405 

Heigh. And so we shall be sure of chatt enough; 
Youle hold them with your floutes and guiles so long. 
That all the night will scarcely be enough 

1384 word] word Qi 1385 Dutchman] Dutchman Q3 come.] come, Q3 

1386 Italian] Italian Q:^ 1387 well,] well Q3 

1388 What] What Q2 1389 French] French Q3 coriuall] corriuall Q3 

1390 Hee] He Qi come] comes Q2 etc. 1393 IVaJg.] I'Valg. Q3 

Swounds] Nay Q2 etc. 

1394 infestious] infectious Q3 1395 Well] Well Q2 

knowst] knowest Q}, 1396 mee] me Q^ 

1397 yfayth] yfaith Q3 1398 chatte,] chatte Q3 prouide] provide Q3 

1399 Which] Which Q2 1401 IValg.] I'Valg. Q3 Why] \"Vhy, Q2 

^Vhy, Qz 1402 Sword] sword Q3 1405 rome] roome Qi 


To put in practise, what we haue deiiisde : 

Come, come, He be the man shall doe the deed. 14 10 

Hani. \\"ell, I am content to saue your longing. 
But soft, where are we.^ Ha, heere's the house. 
Come let vs take our stands : Frauncc stand you there. 
And Ned and I will crosse t'other side. 

Heigh. Doe so : But hush, I heare one passing hither. 141 5 

Enter Aliiaro. 

Aliiar. Oh de fauorable aspect of de heauen, tis so ob- 
scure, so darke, so blacke dat no mortalle creature can 
know de me : I pray a Dio I sal haue de reight Wench : Ah 
si I be recht, here be de huis of signor Pisaro, I sail haue de 
madona Marina, and daruor I sail knocke to de dore. 1420 

He knockes. 

Heigh. What a pox are you mad or druncke; 
\\'hat, doe you meane to breake my Glasses ? 

Alim. \\^at be dat Glasse? Wat druncke, wat mad.^ 

Heigh. What Glasses sir ; why my Glasses : and if you 
be so crancke. He call the Constable; you will not enter 1425 
into a mans house (I hope) in spight of him? 

Hani. Nor durst you be so bold as to stand there, 
Yf once the Maister of the House did know it. 

Alua. Isdityour Hous? be you de Signor of disCassa.^ 

Heigh. Signor me no signors, nor cassa me no cassas : 1430 
but get you hence, or you are like to taste of the Bastinado. 

Hani. Do, do, good Ferdinand, pummell the logerhead. 

141 1 Well] Well Q2 1412 heere's] heer's Q3 

1415 s.d. Aliiaro] Alvaro Q2, 1416 Aluar.] Alva. Q3 

fauorable] favorable Qi heauen] heaven Q3 1417 blacke] 

blacke, Q2 etc. 1420 Marina] Marina Q2 1421 druncke;] drunke; Q2 

drunke? Q3 1423 Glasse] Glasses Q2 etc. druncke] drunke Q2 etc. 

1424 Glasses] Glasse Q2 etc. (both occurrences) why] why Q3 

1428 Maister] Master Q2 etc. 

House] house Q3 1432 Haru.] Heigh. Qi etc. logerhead] loggerhead Q2 etc. 


Aliia. Is this neit the Hous of mester Pisarof 

Heigh. Yes marry when ? can you tell : how doe you ? 
I thanke you heartily, my finger in your mouth. ^435 

Aliia. Wat be dat? 

Heigh. Marry that you are an Asse and a Logerhead, 
To seeke maister Pisaros house heere. 

Alua. I prey de gratia, wat be dis plashe? 
Wat doe ye call dit strete ? 1440 

Heigh. W^hat sir; why Lead en-hall, could you not see 
the foure Spoutes as you came along? 

Altta. Certenemento Ledcn hall, I hit my hed by de way, 
dare may be de voer Spouts : I prey de gratia, wish be de 
wey to Crochefriers? 1445 

Heigh. How, to Croched-friers ? ]Marry you must goe 
along till you come to the Pumpe, and then turne on your 
right hand. 

Alua. Signor, adio. Exit Aluaro. 

Haru. Farewell and be hang'd Signor: 1450 

Now for your fellow, if the Asse would come. 

Enter Delion. 

Delio. By my trot me doe so mush tincke of dit Gentle- 
woman de fine Wenshe, dat me tincke esh houer ten day, 
and esh day ten yeare, till I come to her : Here be de huise 
of sin vader, sail alle and knocke. He knocks. 1455 

1433 neit] ne it Q^ Hous] hous Q2, 1434 marry] marry, Q2 etc. 

tell:] tell? Q3 

1437 Logerhead] Loggerhead Q2 etc. 1438 maister] master Qz etc. 

1439 dis plashe] displashe Q2 etc. 1441 why] why Q3 

1442 the] The Q2, Spoutes] spoutes Q3 1443 Alua.\ Alua, Q3 

Certenemento] Certemento Q3 Lcdcn hall] Ledcn-hall Q2 etc. 

1444 de voer] do voer Q2 doe voer Q3 be de] bee de Qz 

1449 Signor] Signior Q3 1450 Signor] Signior Qt, 

1454 esh] each Q3 her:] her. Q2 etc. 1455 knocks] knockes Q2 etc. 


Heigh. What a bots ayle you, are you madd? 
Will you runne ouer me and breake my Glasses ? 

Dclio. Glasses, wat Glasses ? Prey is monsieur Pisaro to 
de mayson ? 

Haru. Harke Ned, there's thy substaunce 1460 

IValg. Nay by the Masse, the substannce's heere, 
The shaddow's but an Asse. 

Heigh. What Maister Pisaro ? 
Logerhead, heere's none of your Pisaros? 

Delia. Yes but dit is the houis of mester Pisaro. 1465 

Walg. Will not this monsieur Motley take his answer ? 
He goe and knocke the asse about the pate. 

Har. Nay by your leaue sir, but He hold your worship. 
This sturre we should haue had, had you stood there. 

Walg. Why, would it not vexe one to heare the asse, 1470 
Stand prating here of dit and dan, and den and dog? 

Haru. One of thy mettle Ked, would surely doe it : 
But peace, and harke to the rest. 

Delio. Doe no de fine Gentlewoman matresse Mathea 
dwell in dit Plashe? 1475 

Heigh. No sir, here dwels none of your fine Gantle-wo- 
man : Twere a good deed sirra, to see who you are ; 
You come hither to steale my Glasses. 
And then counterfeite you are going to your Oueanes. 

Delio. I be deceu dis darke neight ; here be no Wenshe, 1480 

1456 madd] mad Q:^ 1457 runne ouer] run over Q2, 
1460 substaunce] substance. Q2 etc. 1461 Walg.] Walg. Q3 
substannce's] substance's Q2 etc. 1463 Heigh.] Heigb. [?] Q3 
Maister] Master Q2 etc. 

1464 Logerhead] Loggerhead Q2 Loggerhed Q3 heere's] 
heer's Q2 heeer's Q3 Pisaros] Pisaros Q2 etc. 

1465 Delia.] Delie. H3 H5 1466 JValg.] J Walg. Q3 

1470 Walg.] Walg. Q3 would] should Q3 1472 Haru.] Hart'. Q3 
1475 dit] d t Qr 1476 Gantle] Gentle Q2 etc. 
1478 Glasses.] Glasses B 


I be no in de right plashe : I prey Monsieur, wat be name 
dis Streete, and wishe be de way to Croshc-fricrs? 

Heigh. Marry this is Fanchnrch-strcctc, 
And the best way to Crotchcd-fricrs, is to follow your nose 

Delio. Vanshe, strcctc, how shaunce me come to Vanshe. 1485 
streete? veil monsieur, me must alle to Croche-fricrs. 

Exit Dclion. 

Walg. Farewell fortipence, goe seeke your Signor, 
I hope youle finde your selues two Dolts anone : 
Hush Fredinand, I heare the last come stamping hither. 

Fnter Frisco. 

Frisc. Hasirra.I haueleftmyfatteZ)/<^r/n;/(7;!,andrunne 1490 
my selfe almost out of breath too : now to my young mis- 
tresses goe I, some body cast an old shoe after me : but soft, 
how shall I doe to counterfeite the Dutchman, be cause 
I speake English so like a naturall ; Tush, take you no 
thought for that, let me alone ior Squintuni squantum :soft, 1495 
her's my Maisters house, 

High. Whose there. 

Frisc. Whose there, why sir here is : Nay thats too good 

1481 Monsieur] Monsier Q2, 1482 Streete] streete Q2, Croshe-] 
Croshe Qz 1484 Crotched-friers] CroUhcd-Friers Q2 Crotched- 
friers Q3 1485 Vanshe, streete] I'anshe-street Q2 Vanshe-street Q3 
1485-6 J'anshc streete.] Vanshe-sirectc Q2 Vanshe-street Qt, 
i486 veil monsieur] vel Monsieur Q2 etc. Croche-friers.] 
Croche-friers: Q2 Croche-friers : Q3 1487 your] you Q2 
Signor] Signior Q2 etc. 1489 Fredinand] Ferdinand Qz etc. 

1489 s.d. Enter] Enter Qi Frisco.] Frisco, Q2 

1490 Dutchman] Dutchman Q3 runne] run Q2 etc. 

1491-2 mistresses] Mistresses Q2 etc. 1492 some body] somebody Q2 etc. 
soft,] soft: Q2 etc. 

1493 Dutchman] Dutchman Q2, be cause] because Q2 etc. 

1494 English] English Q^ 1495 me] mce Q3 soft] sost W 
1496 her's] here's Qj etc. Maisters] masters Qz etc. house,] 
house. Q3 1497 High.] Heigh. Q2 etc. 1498 here] heere Qi 
Xay] Nay, Q2 etc. 


English ; Why here be cle growtte Dutchman. 

Heigh. Then theres not onely a growte head, but an 1500 
Asse also. 

Frisc. What be yoo, yoo be an English Oxe to call a gen- 
tle moan Asse. 

Hani. Harke Ned yonders good greeting. 

Frisc. But yoo, and yoo be Maister Moi/.?^ that dwell 1505 
here, tell your matressa Laurcntia datt her sweete harte 
Maister Vandall would speake with horde, 

Heigh. Maister Mendall, gette you gon, least you get 
a broken Pate and so marre all : heres no entrance for mis- 
stres Laurcntios sweete heart. 15 10 

Frisc. Gods sacaren watt is the luck now. 
Shall not I come to my friend maister Pisar Hoose? 

Heigh. Yes and to maister Pisaros Shoes too, if hee or 
they were here. 

Frisc. Why my groute friend, M. Pisar doth dwel here. 1 5 1 5 

Heigh. Sirra, you lye, heere dwells no body but I, that 
haue dwelt here this one & forty yeares, and sold Glasses. 

IValg. Lye farder, one and fifty at the least. 

Fris. Hoo, hoo, hoo ; do you giue the Gentleman the ly .^ 

1499 English] English Q3 here] heere Q^ 

growtte] growrte Q2 etc. Dutchman] Dutchman Q^ 1502 be] bee Q3 

yoo be] yoo bee Q2 etc. English] EngHsh Q3 gentle] gentile Q2 etc. 

1505 be Maister] bee master Q2 etc. 1506 matressa] Matressa Q2 etc. 

sweete harte] sweet heart Q2 etc. 1507 Maister] master Q2 etc. 

harde,] horde. Q2 etc. 1508 Maister] Master Q2 etc. gette] 

get Q2 etc. gon] gone Q2 etc. least] lest Q2 etc. get] gett Q2 etc. 

1509 Pate] pate Q3 1509-10 misstres] mistresse Q2 etc. 

1510 sweete] fweete Qi 151 1 the luck] de lucke Q2 etc. 

1512 maister] master Q2 etc. Hoose] hoose Q3 

1513 Yes] Yes, Q2 etc. maister] master Q2 etc. Shoes] Shooes Q2 etc. 
hee] he Q2 1515 dwel] dwell Q2 etc. 

heere] here Q2 1517 &] and Q2 etc. yeares] yeeres Q3 forty] 

fortie Q2 1518 fifty] fiftie Q2 1519 Fris.] Frisc. Q2 etc. 

do] doe Q2 etc. Gentleman] gentleman Q2 etc. ly] lye Q2 etc 


Haru. I sir, and will giue you a licke of my Cudgell, if 1 520 
yee stay long and trouble the whole streete with your 
bawling: hence dolt, and goe seeke M. Pisaros House. 

Frisc. Goe seeke M. Pisaros House; 
Where shall I goe seeke \t? 

Hegh. Why, you shall goe seeke it where it is. 1525 

Frisc. That is here in Crodched-friers. 

Heigh. How Loger-head, is Croched-friers heere.^ 
I thought you were some such drunken Asse, 
That come to seeke Croched-friers in Tower-streete: 
But get you along on your left hand, and be hang'd ; 1530 

You haue kept me out of my Bedd with your bangling, 
A good while longer then I would haue been. 

Frisc. Ah, ah. How is this.? Is not this Crochcd-fricrsf 
Tell mee, He hold a Crowne they gaue me so much Wine 
at the Tauerne, that I am druncke, and know not ont. 1535 

Haru. My Dutchman's out his Compasse & his Card ; 
Hee's reckning what Winde hath droue him hither : 
He sweare hee thinkes neuer to see Pisaros. 

Frisc. Nay tis so, I am sure druncke : Soft let mee see. 
what was I about.? Oh now I haue it, I must goe to my 1540 

1521 yee] ye Q2 etc. 1522 bawling] brawling Q2, House] house Q3 
1523 M.] master Q2 etc. House] house Q3 1525 Hegh.] Heig. Q2 etc. 
is.] is, Q2 etc. 1526 here] heere Q3 Crodched-friers.] 
Crotched Fryers? Q2 Crotched-Fryers ? Q3 1527 Heigh.] Heig. Q2 
Croched-friers] Crotched Fryers Q2 Crotched-Fryers Q3 heere] 
here Q2 etc. 1529 Croched-friers] Crutched-fryers Q2 Crutched- 
fryers Q3 Tower-streete] Toiver-street Q2 Tower-street Q3 
1531 Bedd] Bed Q3 bangling] brangling Q3 1532 been] beene Q2 etc. 
1533 ah,] ah. Qs Croched-friers] Crutched-fryers Q2 Crutched- 
fryers Q3 1534 mee] me Q2 Crowne] crowne Q2 etc. me] mee Q3 
Wine] wine Q2 etc. 1535 druncke] drunke Q2 etc. 

1536 Dutchman's] Dutch-man's Q2 Dutchman's Q3 &] and Q3 

1537 Winde] winde Q2 etc. 1538 hee] he Q2 etc. neuer] never Q3 
1539 Nay] Nay, Q2 etc. druncke] drunke Q2 etc. Soft] soft Q3 
mee] me Q2 etc. 


Maisters house and coimterfeite the Dutchman, and get 
my young Mistresse : well, and I must turne on my left 
hand, for I haue forgot the way quite and cleane : 
Fare de well good frend, I am a simple Dutchman I. 

Exit Frisco. 

Heigh. Faire weather after you. And now my Laddes, 1545 
Haue I not plide my part as I should doe ? 

Ham. Twas well, twas well : But now let's cast about. 
To set these Woodcocks farder from the House, 
And afterwards returne vnto our Girles. 

Walg. Content, content; come, come make haste. Exeunt. 1550 

[Act IV. Scene I. A Street.] 

Enter Ahiaro. 
Alua. I goe and turne, and dan I come to dis plashe, I 
can no tell waer, and sail doe I can no tell watt, turne by 
the Pumpe ; I pumpe it faire. 

Enter Delion. 
Delio. Me alle, ende alle & can no come to Croche-friers. 

Enter Frisco. 
Frisc. Oh miserable Blacke-pudding, if I can tell which 1555 
is the way to my ^laisters house, I am a Red-herring, and 
no honest Gentleman. 

Alua. Who parlato daer.? 

1541 Maisters] Masters Q2 etc. counterfeite] counterfeit Q2 etc. 
Dutchman] Dutchman Q3 1542 well,] well Q2 etc. 

1544 frend] friend Q2 etc. Dutchman] Duchman Q2 Duchman Q2 

1545 you.] you, Q2 etc. And] and Q2 etc. 1546 plide] playde Q2 etc 
1547 let's] lets Q2 etc. 1548 farder] farther Q2 etc. House] 

house Q3 

1552 sail] sal Q2 etc. 1554 &] and Q3 friers] Fryers Q2 etc. 

1556 Maisters] masters Q2 etc. 


Delio. Who be der? who alle der? 

Frisc. How's thisf For my Hfe here are the Strangers : 1560 
Oh that I had the Diitchnians Hose, that I might creepe 
into the Pockets ; they'Ie all three fall vpon me & beat me. 

Aliia. Who doe der ander? 

Delio. Amis ? 

Frisc. Oh braiie; it's no body but ^I. P/k7roo and the 1565 
Frr//c/i;;;a;/goingtoour House, on my life: well. He haue 
some sport with them, if the Watch hinder me not. 
Who goes there? 

Delio. Who parle der. in wat plashe. in wat streat be you ? 

Frisc. Why sir, I can tell where I am ; I am in Tozccr- 1 570 
streete: Where a Diuell be you.^ 

Delio. lo be here in Lcdc-hall. 

Frisc. In Leaden-hall? I trow I shall meete with you a- 
none : in Lcadeii-hall? What a simple Asse is this Frenchman. 
Some more of this : Where are you sir.^ 1575 

Alua. Moy I be here in Vanshc-streete. 

Frisc. This is excellent ynfayth. as fit as a Fiddle : I in 
Tower-streete, you in Leadcn-hall, and the third in Fanchnrch- 

1559 who] Who Q2 etc. 

1561 Dntchmans liose] Dutchmans hose Qt, 1562 Pockets] pockets Q2, 

& beat] and beate Q2 etc. 1563 doe] goe Q2 etc. 

1564 Amis?] Amis. Q2 etc. 1565 braue;] braue : Q3 it's] tis Q2 etc. 

M. Pharoo] Master Phareo Q2 etc. 

1566 Frenchman] Frenchman Q3 House] house Q3 1567 me] mee Q3 

Watch] Watch Q2 1568 Who] Who Q2 1569 Who] Who Q2 

wat] watt Q2 etc. wat] watt Q2 etc. be] bee Q3 streat] 

street Q2 etc. 1570 Why] Why Q2 1570-71 Towcr-sireete] 

Totvcr strcetc Q2 Towcr-streete Q3 Diuell] Divell Q3 Where] Where Q2 

1572 Lede-hall] Lcdcn-hall Q2 Leden-hall Q3 1573 Leaden-hall] 

Leadcn-hall Q3 1574 Lcadcn-hall] Lcaden-hall Q3 What] What Q2 

Frenchman] Frenchman Q3 1575 Where] Where Q2 

1576 Vanshe-streete] Vanshc-strcet Q2 Vanshe-street Q3 

1577 ynfayth] yfaith Q2 etc. 1578 Tower-streete] Towcrstrcct Q2 
Towerstreet Qi Leaden-hall] Leadenhall Q2, and] & Q3 
Fanchurch-strccte] Fanchurch-strcct Q2 Fanchurch-street Q3 


strecte ; and yet all three heare one another, and all three 
speake togeather : either wee must be all three in Lcacfcw- 1580 
hall, or all three in Tower-strecte, or all three in Fanchiirch- 
strcetc ; or all three Fooles. 

Aliia. jMonsieur Gentle-home, can you well tesh de 
wey to Croshc-fricr? 

Frisc- How to Croclicd-fricrsf I, I sir, passing well if 1585 
you will follow mee. (tanks. 

Dclio. I dat me sal monsier Gentle-home, and giue you 

Frisc. And monsiur Plioro, I shall lead you such a iaunt, 
that you shall scarce giue me thankes for. Come sirrs 
follow mee : now for a durtie Puddle, the pissing Condit 1590 
or a great Post, that might turne these two from Asses to 
Oxen by knocking their Homes to their Fore-heads. 

Aliia. W'haer be de now signorf 

Frisc. Euen where you will signor, for I know not : 
Soft I smell : Oh pure Nose. 1 595 

Delio. Wat do you smell? 

Frisc. I haue the scent of London-stone as full in my nose, 
as Ahchurch-lanc of mother Walks Pasties : Sirrs feele a- 
bout, I smell London-stone. 

Alua. Wat be dis.^ 1600 

Frisc. Soft let me see ; feele I should say, for I cannot see : 
Oh lads pray for my life, for we are almost at Croched-f tiers. 

1580 togeather] together Q12 etc. wee] we Q2 etc. 1581 hall] hat Q2 
streete] street Q2, 1582 streetc] street Q3 Fooles] fooles Q3 
1584 frier] Fryer Q2 etc. 1585 Frisc-] Frisc. Q2 etc. 
Crochcd-fricrs] Croctchcd-friers Q2 PH3 H4 H6 Crotched fryers H5 
1586 mee] me Q2 etc. tanks.] tanks Q3 1587 monsier] monsieur Q2 etc. 

1588 monsiur] Monsieur Q2 monsieur Q3 iaunt,] iaunt Q2 etc. 

1589 me] mee Q3 sirrs] sirs Q3 1590 mee] me Q2 etc. durtie] 
durty Q2 etc. Condit] Conduit Q2 etc. 1593 signor] Signior Q2 etc. 
1594 signor] Signior Q2 etc. Soft] Sost Q2 1596 What do] What doe Q2 etc 

1598 Abchurch-lane] Abchurch lane Q3 JValles] Walks Qi 

1599 London-] London Q2 etc. 1600 Wat] What Q3 1602 Oh] oh Q3 


Delio. Dats good: but watt be dis Post? 

Frisc This Post ; why tis the May-pole on luie-bridge 
going to IVestnmistcr. 1605 

Dclio. Ho IVesmistere, how come we tol IVesmistere? 

Frisc. Why on your Legges fooles, how should you 
goe? Soft, heere's an other : Oh now I know in deede 
where I am ; wee are now at the fardest end of Shoredich, 
for this is the May-pole. 1610 

Delo. Sordichc ; O dio, dere be some nautie tinge, some 
Spirite do leade vs. 

Frisc. You say true sir, for I am af eard your French spirt 
is vp so far alredy, that you brought me this way, because 
you would finde a Charme for it at the Blew Bore in the 161 5 
Spittle: But soft, who comes heere.^ 

Enter a Belman. 

Bel. Maydes in your Smocks, looke wel to your Locks, 
Your Fier and your Light ; and God giue you good night. 

Delia. Monsieur Gentle-home, I prey parle one, too, 
tree, fore, words vore vs to dis oull man. 1620 

Frisc. Yes marry shall I sir. I pray honest Fellow, in 
what Streete be wee? 

Bel. Ho, Frisco, whither friske you at this time of night .^ 

Delio. What, Monsicjir Frisco f 

1603 Delio.] Delio, Q2 watt] wat Q3 1604 Frisc] Frisc H5 

1605 JVestmiuster] VP'estminstcr Q2, 1606 IVesmistere] VVestmistcreQi 

IVestmistere Q2 (both occurrences) tol] to Q3 1607] 

Fris. Q2 1608 goe] go Q3 in deede] indeede Q2 indeed Q3 

1609 Shoredich] Shoreditch Q2 etc. 161 1 Delo.] Delio. Q3 

nautie] natie Q2 etc. 1612 do] doe P 1613 Frisc] Frisc Q3 
spirt] spirit Q2 etc. 1614 alredy] already Q2 etc. 1615 finde] 
find Q2 etc. 1617 wel] well Q3 Locks,] Locks; Q2 etc. 

1618 Fier] fier Q3 Light] light Q3 1619 Delia.] turned i Qi 
Delio. Q2 etc. Monsieur] Monsier Q3 1620 fore,] fore Q2 etc. 
1621 Fellow] fellow Q3 1622 wee] we Q2 etc. 1623 Bel.] Bel, Q2 


Alua. Signor Frisco? 1625 

Fnsc. The same, the same : Harke yee honesty, mee 
thinkes you might doe well to haue an M. vnder your 
Girdle, considering how Signor Pisaro, and this other 
^lonsieur doe hold of mee. 

Bdl. Oh sir, I cry you mercie ; pardon this fault, and He 1630 
doe as much for you the next time. 

Fris. Well, passing ouer superfluicall talke, I pray what 
Street is this ; for it is so darke, I know not where I am ? 

Bell. Why art thou druncke, Dost thou not know 
Fanchurch-strcete f 1635 

Frisc. I sir, a good Fellow may sometimes be ouerseene 
among Friends ; I was drinking with my IMaister and 
these Gentlemen, and therefore no maruaile though I be 
none of the wisest at this present : But I pray thee Good- 
man Buttericke, bring mee to my Maisters House. 1640 

Bel. Why I will, I will, push that you are so strange now 
adayes : but it is an old said saw, Honors change Manners. 

Frisc. Good-man Buttericke will you walke afore : 
Come honest Friends, will yee goe to our House ? 

Delia. Ouy monsieur Frisco. 1645 

Alna. Si signor Frisco. {^Exeunt. 

1625 Alua.] Alva. Q3 

1626 yee] ye Q3 mee] me Q3 1628 Girdle] girdle Q3 

Pisaro] Pi faro Qi Alvaro Q2, 1629 doe] do Q3 1630 Bell] Bel. Q3 

mercie] mercy Q3 1632 Fris.] Frisc. Q2 etc. ouer] over Qi 

1634 Bell.] Bel. Q3 druncke] drunke Q3 1635 Fanchurch-] Fanchnrch Q2 

1636 ouerseene] overseene Q3 1637 Friends] friends Q3 Maister] 

Master Q2 etc. 1638 maruaile] marvaile Q3 1639 Goodman] 

goodman Qz 1640 mee] me Q2 etc. Maisters] Masters Q2 etc. 

House] house Qz 1641 Bel] Bell. Q2 will] wil Q2 

(^second occurrence) now] now, Q3 

1642 Manners] manners Q3 1644 Friends] friends Qz yee] ye Qz 

House] house Q2, 

1646 Alua.] Alva. Q3 signor] signior Q2 etc. 


[Scene II. Before Pisaro's House.] 

Enter J'andalle. 

Vand. Oh cle skellam Frisco, ic weit neit waer dat ic be, 
ic goe and hit my nose op dit post, and ic goe and hit my 
nose op danden post ; Oh de villaine : \\'ell. waer ben ic 
now ? Haw laet syen is dut neit croshe vrier, ya seker so ist 1650 
and dit M. Pisaros hiiis : Oh de good shaunce, well ic sail 
now haue de \\'enshe Laurentia, mestris Laurentia. 

Enter Laurentia, Marina, MatJiea, ahoue. 

Mari. Who's there, Maister Haruie? 

Math. Maister IValgraue? 

Laur. Maister Heigham? 1^55 

Vand. Ya my Louiie. here be mester Heigham your 
groot frinde. 

Mari. How. jMaister Heigham my grot vrindef 
Out alas, here's one of the Strangers. 

Lauren. Peace you Mammet, let's see which it is ; wee 1660 
may chaunce teach him a strange tricke for his learning : 
M. Heigham, what wind driues you to our house so late? 

Vand. Oh my leif Mesken, de loue tol v be so groot, dat 
het bring me out my bed voor you. 

Math. Ha, ha, we know the Asse l)y his eares ; it is the 1665 
DutcJiman: what shall we doe with him? 

1647 Ohl O Q3 ic weit] it wc it Q2 it wee it Q3 dat] omitted Q2 etc. 

be] bee Q3 1650 dut] duit Q3 1653 Mari.] Mari. Q:^ 

Maister] Master Q2 master Q3 Haruie] Haruy Q2 

1654 Maister] Master Q2 etc. 1655 Maister] Master Q2 etc. 

1657 frinde.] frinde, Q2 1658 Man.] Mary Q3 How,] How Qz etc. 

Maister] Master Q2 master Q3 1659 alas,] alas ; Q2 etc. 

here's] beer's Qt, Strangers] strangers Q3 

1665 Math.] Math, Q3 1666 Dutchman] Dutchman Q3 


Laurc. Peace. let him not know, that you are heere : M. 
Hcigham, if you will stay awhile that I may se, if my Father 
be a sleepe, and He make meanes we may come togeather 

Vand. Dat sal ick my Loua. Is dit no well counterfett 1670 
I si>eake so like niester Hcigham as tis possible. 

Laurc. Well, what shall we doe with this Lubber f 
(Louer I should say.) 

MatJi. What shall wee doe with him? 
Why crowme him with a — 1675 

Mari. Fie Slutt : No, wele vse him clenlier ; you know 
we haue neuer a Signe at the dore, would not the iest proue 
currant, to make the Dutclunan supply that want. 

Laurc. Nay, the f oole wil cry out, & so wake my father. 

Mat. Why, then wele cut the Rope & cast him downe. 1680 
Lanr. And so iest out a hanging ; let's rather draw him vp 
in the Basket, and so starue him to death this frosty night. 

Mari. In sadnesse, well aduisde : Sister, doe you holde 
him in talke, and weele prouide it whilst. 

Laur. Goe to then. M. Hcigham, oh sweete M Higham, 1685 
doth my Father thinke that his vnkindnes can part you & 
poore Laurcntia ? No, no, I haue found a drift to bring you 
to my Chamber, if you haue but the heart to venter it. 

Vand. Ventre, sal ick goe to de see, and be de see, and ore 
de see, and in de see voer my sweete Louue. 1690 

1667 Laure.] Laure H Peace,] Peace Q3 1668 will] wil Q2 etc. 

se] see Q2 etc. Father] father Q3 1669 togeather] together. Qs 

1670 Loua.] Loua, Q3 Is] is Q3 1672 Lubber?] Lubber; Q3 

1673 Louer] Lover Q3 1674 wee] we Q3 1676 Mari.] Mart, Q3 

1677 neuer] never Q3 Signe] signe Q3 1678 Dutchman] Dutchman Q3 

1679 Laurc] Lanr. Q3 &] and Q2 etc. father.] father Q2 

1680 Rope &] rope and Q3 him] him Q2 1681 let's] apostrophe 
doubtful Qi 

1684 prouide] provide Q2, it] it the Q2 etc. 1685 then.] then, Q3(?) 
M Higham] M. Heigham Q2 etc. 1686 &] and Q3 1689 Vand.] 
Vand- Qi J'and. Q2 etc. 


Laur. Then yon dare goe into a Basket ; for I know no 
other meanes to inioy your companie, then so : for my Fa- 
ther hath the Keyes of the Dore. 

Vand. Sal ick cHmb vp tot you ? sal ick fly vp tot you ? 
sal ick, wat segdy ? 1695 

Math. Bid him doe it Sister, wee shall see his cunning. 

Laur. Oh no, so you may catch a fal. There M. Hcigham, 
Put your selfe into that Basket, and I will draw you vp : 
But no words I pray you, for feare my Sister heare you. 

Vand. No, no ; no word : Oh de seete Wenshe, Ick come, 1 700 
Ick come. 

Laur. Are you ready maister Heighamf 

Vand. la ick my sout Lady. 

Mari. Merily then my Wenches. 

Laur How heauie the Asse is : Maister Heigham, is there 1705 
any in the Basket but your selfe.^ 

Vand. Neit, neit, dare be no man. 

Laur. Are you vp sir? Vand. Xeit, neit. 

Mari Nor neuer are you like to climbe more higher: 
Sisters, the Woodcock's caught, the Foole is cag'd. 1710 

Vand. ]\Iy sout Lady I be nuc neit vp, pul me tot v. 

Math. When can you tell ; what maister Vandalle, 
A wether beaten soldier an old wencher, 
Thus to be ouer reach'd by three young Girles : 
Ah sirra now weele bragge with ]\Iistres Moore, i/iS 

To haue as fine a Parret as she hath, 

1692 companie] company Q3 1694 tot] to Q3 

1696 wee] we Q3 1697 so you may] so he may Q2 etc. 

fal] fall Q3 Hcigham,] Hcigham Q2 etc. 1700 Wenshe] Wenche Q3 

1702 maister] master Q2 etc. 1704 Mari.] Mari B 

1705 Laur] Laur. Q2 etc. Maister] Master Q2 etc. 

1709 Mari] }fari. Q2 etc. 171 1 pul] pull Qs 1712 Math.] 

Matt Q2 Matt. Qs When] When, Q2 etc. maister] master Q2 etc. 

1713 w€ther] weather Q3 soldier] soldier, Q2 etc. 

1715 weele] weele- Q2 Moore] Moore Q3 



Looke sisters what a pretty f oole it is : 

What a greene greasie shyning Coate he hath, 

An Almonde for Parret, a Rope for Parret. 

Vand. Doe you moc que me seger seger, 1 720 

I sal seg your vader. 

Laur. Doe and you dare, you see here is your fortune, 
Disquiet not my father; if you doe, 
He send you with a vengeance to the ground, 
Well we must confesse we trouble you, 1725 

And ouer watching makes a wiseman madde. 
Much more a foole, theres a Cusshon for you. 

Mar. To bore you through the nose. 

Laur. To lay your head on. 
Couch in your Kennell sleape and fall to rest, 1730 

And so good night for London maydes skorne still, 
A Dutch-man should be seene to curbe their will. 

[Exeunt Sisters. 

Vand. Hort ye Daughter, hort ye ? gods se ker kin ? will 
ye no let me come tot you,^ ick bid you let me come tot you 
watt sal ick don, ick woud neit vor vn hundred pounde 1735 
Aliiaro & Dclion, should see me ope dit maner, well wat sal 
ick don, ick mout neit cal : vor de Wenshes wil cut de rope 
and breake my necke ; ick sal here bleauen til de morning, 
& dan ick sal cal to mester Pisaro^, & make him shafe & shite 
his dauctors : Oh de skellum Fn'^yco, Oh des cruell Hores. 1740 

1718 Coate] Coat Q3 shyning] shining Q3 

1719 Rope] rope Q3 1722 here] heere Q3 

1724 with] omitted Q3 1725 you,] you. Q3 1727 Cusshon] Cushon Q3 
1728 Mar.] Mat. Q2 Matt. Q3 1730 Kennell] Kennell, Q3 
sleape] sleepe Q2 etc. 1732 Dutch-man] Dutchman Q2 etc. 
will.] will, Q2 etc. 1733 ye?] turned ? Qi ye; Q2 etc. 
se] see Q3 1734 me] mee Q3 me] mee Q3 you] you, Q3 

1735 watt] wat Q2 etc. woud] would Q2 etc. 

1736 Aluaro] Aluaro, Q3 maner, well] manner, wel Q3 

1737 vor] ver Q2 etc. 1738 til] till Q3 1739 Pisaro,] Pisaro Q2 etc. 


[Scene III. The Same.] 
Enter Pisaro. 
Pisa. He put the Light out, least I be espied, 
For closely I haue stolne me foorth a doares. 
That I might know, how my three Sonnes haue sped. 
Now (afore God) my heart is passing light, 
That I haue ouerreach'd the EitglisJuiieii: ^745 

Ha, ha, Maister J^andalle, many such nights 
Will swage your bigg swolne bulke, and make it lancke : 
When I was young; yet though my Haires be gray, 
I haue a Young mans spirit to the death. 

And can as nimbly trip it with a Girle. 1750 

As those which fold the spring-tide in their Beards : 
Lord how the verie thought of former times. 
Supples these neere dried limbes with actiuenesse : 
Well, thoughts are shaddowes, sooner lost then scene, 
Now to my Daughters, and their merrie night, 1755 

I hope Ahiaro and his companie, 
Haue read to them morrall Philosophie, 
And they are full with it : Heere He stay, 
And tarry till my gallant youths come foorth. 

Enter Haruie, IValgraue, and Heigham. 

Heigh. You mad-man, wild-oats, mad-cap, where art 1760 
Walg. Heere afore. 

1741 least] lest Qi espied,] espied. Q2 etc. 

1742 doares] doores Q2 etc. 1744 light,] light. W 

1746 Maister] Master Q2 etc. 1747 bigg] big Qt, 1748 young;] 
young, Q3 1749 Young] young Q3 1752 verie] very Q3 

1755 merrie] merry Q3 

1756 companie] company Q:^ 1757 morrall Philosophie] morall 
Philosophy Q2 etc. 1758 Heere] Here Q2 1759 youths] youthes Q2 
foorth] forth Q2 1759 s.d. Haruie] Haruy Q3 

1760 wild-] wilde- Q2 etc. 1761 U'atg.] ll'alg, Q2 Vl'alg. Q2, 


Ham. Oh ware what loue isf Ned hath found the scent ; 
And if the Connie chaunce to misse her Burrough, 
Shee's ouer-borne yfayth, she cannot stand it. 

Pisa. I know that voyce, or I am much deceiued. 1765 

Heigh. Come, why loyter weef this is the Dore: 
But soft, heere's one asleepe. 

IValg. Come, let mee feele : 
Oh tis some Rogue or other; spurne him, spume him. 

Ham. Be not so wilfull. prethee let him He. (house, 1770 

Heigh. Come backe, come backe. for wee are past the 
Yonder's Mafheas Chamber with the light. 

Pisa. Well fare a head, or I had been discride. 
Gods mee, what make the Youngsters heere so late? 
I am a Rouge, and spurne him: well lacke sauce, 1775 

The Rogue is waking yet, to marre your sport. 

Walg. Matt, Mistris Mathea ; where be these Girles.? 

Enter Mathea alone. 

Math. Who's there below? 

JV.alg. Thy Ned, kind Ned, thine honest trusty Ned. 

1/62 Ham.] Ham. Q2 scent;] scent, Q3 

1763 Connie] Conny Q2 etc. Burrough] Borough Q2 etc. 

1764 ouer-borne] ouerborne Q2 ovorborne Q3 yfayth] yfaith Q2 etc. 

1765 Pisa.] Pisa, Q2 deceiued] deceived Q3 

1766 Heigh.] Heiga. Qz wee] we Q2 etc. Dore] doore Q3 

1767 heere's] here's Q2 1768 Walg.] Walgr. Q2 Walg. Qz 

mee] me Q2 etc. 1769 other;] other, Q2 etc. 1770 Ham.] Ham. Q2 
He] lye Q2 etc. 1771 wee] we Q2 1772 Matheas] Matheas Q2 
Chamber] chamber Q3 1773 been] bene Q2 beene Q3 
1774 mee] me Q2 etc. make] makes Q2 etc. Youngsters] youngsters Q3 
heere] here Q2 1775 Rouge] Rogue Q2 etc. 1776 Rogue] rogue Q3 
yet,] yet Q2 etc. marre] spoyle Q2 etc. 1777 Walg.] Walg. Q3 
Matt] Matt Q2 Mathea;] Mathea, Q2 Mathea, Q3 
1777 s.d. Mathea] Mathea Q2 1778 Math.] Math. Q2 
Who's] Who's Q2 etc. I779 Walg.] Walg. Q3 


Math. No, no, it is the Frenchman in his stead, 1780 

That jMounsieur motlicoate that can dissemble : 
Heare you Frenchman, packe to your Whores in Fraunce; 
Though I am Portingale by the Fathers side. 
And therefore should be lustfull, wanton, light; 
Yet goodman Goosecap, I will let you know, 1 785 

That I haue so much English by the Mother, 
That no bace slauering French shall make me stoope : 
And so, sir Dan-delion fare you well. 
IValg. What speachlesse, not a word : why how now Ned? 

Har. The Wench hath tane him downe, 1790 

He hanges his head. 

Walg. You Dan-de-lion, you that talke so well : 
Harke you a word or two good Alistris Matt, 
Did you appoynt your Friends to meete you heere. 
And being come, tell vs of Whores in Fraunce, 1 795 

A Spanish lennet, and an English Mare, 
A Mongrill, halfe a Dogge and halfe a Bitch; 
With Tran-dido, Dil-dido, and I know not what? 
Heare you, if you'le run away with Ned, 
And be content to take me as you find me, 1800 

Why so law, I am yours : if otherwise, 
Youle change your Ned, to be a Frenchmans Trull ? 

1780 Math.] Math. Q2 Math Q3 1781 Mounsieur] Mounser Q3 
1782 Fraunce] France Q3 sidej side. Q2 

1787 bace slauering French] base slavering French Qs 

1788 Dan] 'Dan Q3 1789 speachlesse] speechlesse Q2 etc. 
1790 Wench] Wench Q2 wench Q3 1791 hanges] hangs Q3 
1792 Dan-de-lion] Don-delion Q3 1793 Mistris] mistris Qs 

Matt,] Matt. Q2 etc. 1794 meete] meet Q3 1795 Whores] Whores Q2 
Fraunce] Fraunce Q3 

1796 Sl^anish] Spanish Qs English] English Q3 

1797 Dogge] Dogge, Q3 Bitch;] Bitch, Qi etc. 1798 With] With Q3 
1801 Why] Why Q3 1802 Frenchmans] Frenchmans Q3 Trull] trull Q3 


Why then, Madame Delion, Ic vous lassera a Dio, et la 
bon fortune. 

Math. That voyce assures mee, that it is my Loue : 1805 
Say truly, Art thou my Ned? art thou my Louef 

IValg. Swounds who should I be but Nedf 
You make me sweare. 

Enter aboue Marina. 
Mari. Who speake you tof Mathea who's below f 
Haru. Marina. 1810 

Mari. Young maister Haruy ? for that voyce saith so. 

Enter Laurentia. 

Lanr. Speake sister Matt, is not my true Loue there? 

Math. Ned is. 

Laur. Not maister Heighamf 

Heigh. Laurentia, heere. 181 5 

Laur. Yfayth thou'rt welcome. 

Heigh. Better cannot F'all. 

Math. Sweete, so art thou. 

Mari. As much to mine. 

Laur. Nay Gentles, welcome all. 1820 

Pisa. Here's cunning harlotries, they feed these off 
With welcome, and kind words, whilst other Lads 
Reuell in that delight they should possesse : 
Good Girls, I promise you I like you well. 

Mari. Say maister Haruy, saw you, as you came, 1825 

1803 Why] Why Q2 etc. then,] then Q3 Delion] Delia Q2 etc. 

et] &" Qz 1805 mee] me Qt, 1806 truly] truely Q3 

1809 speake] spake Q3 below?] below, Q2 etc. 

181 1 Mari.] Mari. Q2 maister] master Q2 etc. 1812 Laur.] So Q2 etc. 

Alua. Qi Matt] Matt Q2 1813 Math.] Math. Q2 

1814 maister] master Q2 etc. 1816 Yfayth] Yfaith Q3 thou'rt] 

thou'art Q2 thou art Q3 181 7 Heigh.] Ueigh. Q2 Fall] fall Q3 

1818 Math.] Math. Q2 Mari.] Mari. Q2 

1824 Girls] Girles Q2 etc. 1825 maister] master Q3 


That Leacher, which my Sire appoynts my man; 

I meane that wanton base Italian, 

That Spannish-leather spruce companion : 

That anticke Ape trickt vp in fashion? 

Had the Asse come, I'de learne him, difference been 1830 

Betwixt an English Gentleman and him. 

Heigh. How would you vse him (sweete) 
If he should comef 

Mari. Nay nothing (sweet) but only wash his crowne : 
Why the Asse wooes in such an amorous key, 1835 

That he presumes no Wench should say him nay : 
Hee slauers not his Fingers, wipes his Bill, 
And sweares inf ayth you shall, infayth I will ; 
That I am almost madd to bide his woeing. 

Heigh. Looke what he said in word, He act in doing. 1840 

Walg. Leaue thought of him. for day steales on apace, 
And to our Loues : Will you performe your words; 
All things are ready, and the Parson stands, 
To ioyne as hearts in hearts, our hands in hands ; 
Night fauours vs, the thing is quickly done, 1845 

Then trusse vp bagg and Bagages, and be gone : 
And ere the morninge, to augment your ioyes, 
Weele make you mothers of sixe goodly Boyes. 

Heigh. Promise them three good Ned. and say no more. 

Walg. But He get three, and if I gette not foure. 1850 

Pisa. Theres a sound Carde at ]Maw, a lustie lad, 

1826 man;] man? Q2 etc. 1828 Spamiish] Spanish Q2 etc. 
1829 fashion?] fashion: Qi etc. 1832 he] hee Q3 
1835 Why] Why, Q2 etc. 1838 sweares] sweares, Q2 etc. 
1839 woeing] woing Q2 wooing Q3 1842 Will] will Q3 
1844 hands;] hands: Q^ 1S45 fauours] favours Qi 

1846 Bagages] Baggage Q2 baggage Qz gone] gon Q2 

1847 ere] ete [?] H morninge] morning Q2 etc. ioyes,] ioyes Qz 

1848 Weele] Weele Q2 mothers] Mothers Q2 1850 gette] get Q2 etc. 
1851 Theres] There's Q2, Carde] Card Q2 card Qz 



Your father thought him well, when one he had, 

Heigh. What say you sweetes, will you performe your 
wordes ? 

Matt. Loue to true loue, no lesser meede affordesf 1855 
W^ee say we loue you, and that loues fayre breath 
Shall lead vs with you round about the Earth : 
And that our loues, vowes, wordes, may all proue true. 
Prepare your Armes, for thus we flie to you. they Embrace. 

IValg. This workes like waxe, now ere to morrow day, i860 
If you two ply it but as well as I, 
Weele worke our landes out of Pisaros Daughters : 
And cansell all our bondes in their great Bellies, 
When the slaue knowes it, how the Roge will curse. 

Matt. Sweete hart. 1865 

Walg. Matt. 

Mathc. Where art thou. 

Pisa. Here. 

Mathe. Oh lesus heres our father. 

Walg. The Diuell he is. 1870 

Har u ^Maister Pisaro, twenty times God morrow. 

Pisa, Good morrow? now I tell you Gentlemen, 
You wrong and moue my patience ouermuch, 
What will you Rob me, Kill me, Cutte my Throte : 

1852 father] Father Q2 etc. well,] well Q2 etc. had,] had. Q2 had Q:^ 

1853 What] What Q2 sweetes] sweets Q2 sweete Qj, 

1855 Matt.] Mat. Q2 Mat. Q3 affordes?] affordes; Q2 etc. 

1856 Wee] Wee Q2 We Q3 1S57 lead] leade Q2 etc. 

1858 wordes] words Q3 proue] prooue Q3 1859 Armes] armes Q2 etc. 
j-ou.] you Q3 they Embrace.] They embrace. Q2 etc. i860 day,] day Q3 
1862 landes] lands Q3 1863 cansell] cancell Q3 

1864 Roge] 'Rogu e Q2 Rogue Q3 curse.] curse, Q3 

1865 hart] heart Q2 etc. 1868 Here] Heere Q3 1869 father.] 
father Q3 1870 he] hee Q3 1871 Har u] Ham. Q2 etc. 
Maister] Master Q2 etc. God] Good Q3 morrow.] morrow, Q2 etc. 
1872 Pisa,] Pisa. Q2 etc. Good] good Q3 1874 Rob] rob Q3 


And set mine owne bloud here against me too, 1875 

You huswifes? Baggages f or what is worse, 

Wilfull, stoubborne, disobedient : 

Vse it not Gentlemen, abuse me not, 

Newgate hath rome, theres law enough in England, 

Heigh. Be not so testie, heare what we can say. 1880 

Pisa. Will you be wiu'de ? first learne to keepe a wife, 
Learne to be thriftie, learne to keepe your Lands, 
And learne to pay your debts to, I aduise, else. 

IValg. What else, what Lands, what Debts, what will 
you doe? 1885 

Haue you not Land in Morgage for your mony. 
Nay since tis so, we owe you not a Penny, 
Frette not, Fume not, neuer bende the Browe : 
You take Tenn in the hundred more then Law, 
We can complayne, extortion, simony, 1890 

Newgate hath Rome, thers Law enough in England. 

Heigh. Prethe haue done. 

Walg. Prethy me no Prethies. 
Here is my wife, Sbloud touch her, if thou darst, 
Hearst thou, He lie with her before thy face. 1895 

Against the Crosse in Cheape, here, any where, 
What you old craftie Fox you. 

Heigh. Ned, stop there. 

Pisa. Nay, nay speake out, beare witnesse Gentlemen. 

1875 owne] owne Q^ bloud] blood Q^ 

1876 worse,] worse. Q2 etc. 1877 stoubborne] stubborne Q3 
1879 theres] thers Q2 ther's Q3 1880 Heigh.] Heigh, Q3 

we] wee Q3 1881 Pisa. Will you be wiu'de? first] Pi ja. Wiu'de? first Q3 

learne] learue Q2 

1884 Lands] Land Q3 1886 not] our Q2 etc. mony] money Q3 

1889 Tenn] Ten Q:i 1890 complayne] complaine Q2 etc. 1891 Rome] 

rome Q3 thers] theres Q2 1892 Prethe] Prethee Q2 etc. 

1896 where,] where. Qji 1899 speake] fpeake Qi Gentlemen,] 

Gentlemen. Q2 etc. 


Whers Mowchc, charge my Musket, bring me my Bill. 1900 
For here are some that meane to Rob thy maister. 

Enter Anthony. 

I am a Fox with you, well lack sawce. 
Beware least for a Goose, I pray on you. 

Exeunt Pisaro and Daughters. 

In baggages, Mozi'che make fast the doore. 

Walg. A vengeance on ill lucke, 1905 

Antho. What neuer storme. 
But bridle anger with wise gouernment. 

Heigh. Whomf Anthony our friend, Ah now our hopes, 
Are found too light to ballance our ill happes. 

Antho. Tut nere say so, for Anthony 19 10 

Is not deuoyde of meanes to helpe his Friends. 

Walg. S wounds, what a diuell made he foorth so latef 
He lay my life twas hee that fainde to sleepe, 
And we all vnsuspitious, tearmde a Roage : 
Oh God, had I but knowne him; if I had, 1915 

I would haue writt such Letters with my Sword 
Vpon the bald skin of his parching pate, 
That he should nere haue liude to crosse vs more. 

Antho. These menaces are vaine, and helpeth naught : 
But I haue in the deapth of my conceit 1920 

Found out a more materiall stratagem : 
Harke Maister Walgrauc, yours craues quicke dispatch, 

1900 Whers] Wheres Q2 etc. Bill] bill Q2 etc. 

1901 here] heere Q3 Rob] rob Q3 maister] master Q2 Master Q3 

1902 sawce,] sawce. Q2 etc. 1903 least] lest Q3 pray] prey Q2 etc. 
1908 Heigh.] Heig. Q2 hopes,] hopes Q3 1909 happes.] happes- Q3 
1910 Anthony] turned t Qi 1912 he] hee Q3 1914 we] wee Q3 
Roage:] Rouge. Q2 Rogue. Q3 1916 writt] writ Q3 Sword] Sword Q3 
1918 Omitted Q3 1919 Antho.] Antho H2 

1922 Maister] Master Q2 etc. quicke] quick Q2 etc. 


About it straight, stay not to say farewell. Exit IValgraue. 

'li^ou Alaister HcigJiam, hie you to your Chamber, 

And stirre not foorth, my shaddow, or my selfe, 1925 

Will in the morning earely visit you; 

Build on my promise sir, and good night. Exit Hcigham. 

Last, yet as great in loue, as to the first : 

Yf you remember, once I told a iest, 

How feigning to be sicke, a Friend of mine 1930 

Possest the happy issue of his Loue : 

That counterfeited humor must you play; 

I need not to instruct, you can conceiue, 

Vse maister Broivnc your Host, as chiefe in this : 

But first, to make the matter seeme more true, 1935 

Sickly and sadly bid the churle good night; 

I heare him at the Window, there he is. 

Enter Pisaro aboiie. 

Now for a tricke to ouerreach the Diuell. 

I tell you sir, you wrong my maister much, 

And then to make amends, you giue hard words : 1940 

H'ath been a friend to you; nay more, a Father: 

I promise you, tis most vngently done. 

Pisa. I, well said Moiichc, now I see thy loue. 
And thou shalt see mine, one day if I Hue. 

1923 farewell] farewell Q3 Exit] Exit. Q2 iralgrauc] JValgraiie, Q3 

1924 Maister] Master Q2 etc. Heigham] Hcihgham Q:i 

1925 shaddow,] shaddow Q2, 1926 earely] early Q2 etc. 

1927 and] and so Q2 etc. Exit] Exit. Q2 1930 How] How Q^ 
1932 play;] play Q3 1934 maister] master Q2 etc. 
1935 But] But, Q2 first,] first Q3 I937 Window] Window Qi 
1938 Now] Now Q2, tricke] trick Q2 etc. 1939 wrong] wrong Q3 
maister] master Q2 etc. 1940 words] words Q3 1941 been] 
beene Q2 etc. Father:] Father, Q3 

1943 well] well Q^ Mouchc] Mox<che Q2 etc. now] now Q^ 

1944 if] If Q2 



None but my Daughters sir, hanges for your tooth : 1945 

I'de rather see them hang'd first, ere you get them. 

Hani. Maister Pisaro, heare a dead man speake, 
Who singes the wofull accents of his end. 
I doe confesse I loue; then let not loue 

Proue the sad engine of my hues remooue : 1950 

Marinaes rich Possession was my bhsse ? 
Then in her losse, all ioy eclipsed is : 
As euery Plant takes vertue of the Sunne; 
So from her Eyes, this life and beeing sprung : 
But now debard of those cleare shyning Rayes, 1955 

Death for Earth gapes, and Earth to Death obeyes : 
Each word thou spakst, (oh speake not so againe) 
Bore Deaths true image on the Word ingrauen ; 
Which as it tiue mixt with Heauens ayerie breath, 
Summond the dreadfull Sessions of my death: i960 

I leaue thee to thy wish, and may th'euent 
Prooue equall to thy hope and hearts content. 
Marina to that hap, that happiest is ; 
]\Iy Body to the Graue, my Soule to blisse. 
Haue I done well ? Exit Haruic. 1965 

Antho. Excellent well in troth. 

Pisar. I, goe ; I, goe : your words moue me as much, 
As doth a Stone being cast against the ayre. 
But soft, What Light is that ? What Folkes be those ? Oh tis 
Aluaro & his other Friends, He downe & let them in. Exit. 1970 

1946 hang'd] hanged Q3 1947 Hani.] Ham, Q:^ 
Maister] Master Q2 etc. 1948 wofull] wofull Q3 

1951 Marinaes] turned j Qi Possession] possession Q3 was] was Q3 

1952 eclipsed] ecclipsed Q2 etc. 1954 beeing] being Qt, 

1955 now] now Qt, shyning] shining Q3 1957 word] word Q3 

1959 flue] flew Q3 with] with Qt, 

1961 wish] wish Q3 1962 Prooue] Proue Q2 etc. 

1965 Exit] Exit. Q2 Haruie.] Haruy. Q2 etc. 1966 troth.] troth : Q3 

1970 & his] &his Qi and his Q2 etc. &] and Q2 etc. 

1970 s.d. Delion,] Delion Qz etc. &] and Qi etc. Aluaro] Aluarc Q2 


Enter Behnan, Frisco, Vandalle, Delion, & Ahiaro. 

Frisc. Where are we now gaffer Buttcricke? (wits? 

Bell. Why know }-ou not Croched-fricrs, where be vour 

Aluar. Wat be tis Crosh-viersf vidite padre dare; tacke 
you dat, me sal treble you no farre. [Gives him money. 

Bell. I thanke you Gentlemen, good night : 1975 

Good night Frisco. Exit Behnan. 

Frisc. Farewell Bitttericke, what a Clowne it is : 
Come on my maisters merrily, He knocke at the dore. 

Antho. Who's theere, our three wise Woers, 
Blockhead our man? had he not been, 1980 

They might haue hanged them-selues. 
For any Wenches they had hit vpon : 
Good morrow, or good den, I know not whether. 

Delio. Monsieur de Mozvchc, wat macke you out de 
Houis so latef 1985 

Enter Pisaro belou'. 
Pisa. What, what, young men & sluggards ? fy for shame 
You trifle time at home about vaine toyes, 
Whilst others in the meane time, steale your Brides : 
I tell you sir, the English Gentlemen 

Had wel-ny mated you, and mee, and all; 1990 

The Dores were open, and the Girles abroad, 
Their Sweet-hearts ready to receiue them to : 

1972 Where] Where Q2 wits?] wits Q3 1972 Bell.] Bell Qs 

Crocked-] Crocked Q2 etc. be] bee Q3 1973 viersF] viers. H3-6 

viers: P vidite] vidite, Q2> ^974 treble] trouble Qz 

ig77 Buttericke] Butterike Q2 Butterike Q3 1978 maisters] 

masters Q2 Masters Q3 1979 theere] there Q3 1980 been] 

becne Q2 etc. 1981 them-selues] them selues Q2 themselues Q3 

1982 Wenches] Wenches Q2 1986 What] What Q2 shame] shame. Q3 

1988 WTiilst] Whilst Q2 1989 Gentlemen] Gentlemen, Q3 

1990 mated] mared Q2 marred Q3 mee] me Q3 1991 Dores] dores Q3 

1992 Sweet-] sweet- Q3 


And gone forsooth they had been, had not I 

(I thinke by reuelation) stopt their flight : 

But I haue coopt them vp, and so will keepe them. ^995 

But sirra Frisco, where's the man I sent forf 

Whose Cloake haue you got there ? 

How now, where's VandaUcf 

Frisc. For-sooth he is not heere : 
Maister Mcndall you meane, doe you iiotf 2000 

Pisar. Why logerhead, him I sent for, where is he? 
Where hast thou been ? How hast thou spent thy timef 
Did I not send thee to my Soone Vandallef 

Frisc. I jM. Mcndall; why forsooth I was at his Cham- 
ber, and wee were comming hitherward. and he was very 2005 
hot, and bade me carry his Cloake ; and I no sooner had it, 
but he (being very light) firkes me downe on the left hand, 
and I turnd downe on the left hand, and so lost him. 

Pisa. Why then you turnd togeather, Asse. 

Frisc. No sir, we neuer saw one another since. 2010 

Pisa. Why, turnd you not both on the left hand.? 

Frisc. No for-sooth we turnd both on the left hand. 

Pisa. Hoyda, why yet you went both togeather. 

Fris. Ah no, we went cleane contrary one from another. 

Pisa. Why Dolt, why Patch, why Asse, 2015 

On which hand turnd yee ? 

1993 forsooth] for-sooth Q2 been,] beene, Q2 beene Q3 I] I, Q3 

1995 them.] them, Q3 

1997 Whose] Whose Q3 there?] there . Q3 1999 For-] For Q3 

he] hee Qs 2000 Maister] Master Q2 etc. 2001 Pisar.] Pisa. Q2 etc. 

Why] Why Q2 etc. logerhead] loggerhead Q2 etc. 

2002 Where] Where Q2 etc. time?] time Q2 

2004 forsooth] for sooth Qs 2008 and] And Q3 2009 Why] Why Q2 etc. 

togeather] together Q3 2010 since.] since; Q2 etc. 

201 1 Why] Why Q3 2013 togeather.] together, Qs 

2014 Fris.] Frisc. Q2 etc. another.] another Q2 etc. 

2015 Why] Why Q2 etc. 2016 yee?] yee; Q2 


Frisc. Alas, alas, I cannot tell f or-sooth, it was so darke 
I could not see, on which hand we turnd : But I am sure we 
turnd one way. 

Pisa. Was euer creature plagud with such a Doltf 2020 
My Sonne Vandallc now hath lost himselfe, 
And shall all night goe straying bout the Towne; 
Or meete with some strange Watch that knowes him not; 
And all by such an arrant Asse as this. 

Anth. No, no, youmaysoonesmeltheZ)Hfr/n;?awj-lodg- 2025 
Now for a Figure : Out alas, what's yonder.? (ing: 

Pisa. Where ? 

Fris. Hoyda, hoyda, a Basket : it turnes, hoe. 

Pisa. Peace ye Villaine, and let's see who's there? 
Goe looke about the House ; where are our weapons ? 2030 
What might this meane? 

Frisc. Looke, looke. looke ; there's one in it. he peeps out : 
Is there nere a Stone here to hurle at his Nose. 

Pisa. VVhat,wouldst thou breake my VX'indowes 
with a Stone.? How now, who's there, who are you sir? 2035 

Frisc. Looke, he peepes out againe : Oh it's M. Mend- 
all, it's M. Mendall: how got he vp thither? 

Pisa. What, my Sonne Vandallc. how comes this to passe? 

Alua. Signor J'andallc, wat do yo goe to de wenshe in de 
Basket ? 2040 

2018 But] but Q3 2019 turnd] tunrd Q2 2020 Was] Was Q3 
2021 Sonne] sonne Q3 2022 Towne;] Towne: Q3 
2023 knowes] know Qs 2025 Anth.] Aiitlw. Q2 etc. Dutchmaiis] 
Duchmans Q2 etc 2026 ing:] ing Q3 2027 Where] Where Q2 etc. 
2028 Fris.] Frisc. Q2 etc. 2031 What] What Q2 etc. 

2032 Frisc] Frisc, Q3 Looke,] Looke H2 out:] out, Q3 

2033 here] heere Q3 2034 Pisa.] Pisa, Q3 What] What Q2 etc. 
Windowes] Windowes Q2 etc. 2036 Looke [ Look Q3 he] hee Q3 
it's] its Q2 etc. Meudall,] Meitdal. Q2 Mendal Q3 

2037 it's] its Q2 etc. 2038 What,] What Q2 What Q3 
comes] comes. Q2 2039 Signor] Signior Q2 etc. goe] go Q3 
de] dit little Q2 etc. 


J'and. Oh Vadere, Vadere. here be stish cruell Dochter- 
kens, ick ben also wery. also wery, also cold ; for be in dit 
little Basket: Ic prey helpe dene. 

Frisc. He lookes like the signe of the Mouth without 
Bishops gate, gaping, and a great Face, and a great Head, 2045 
and no Body. 

Pisa. Why how now Sonne, what haue your Adamants 
Drawne you vp so farre, and there left you hanging 
Twixt Heauen and Earth like Mahomets Sepulchre.^ 

Antho. They did vnkindly, who so ere they were, 2050 

That plagu'd him here, like Tantalus in Hell, 
To touch his Lippes like the desired Fruite, 
And then to snatch it from his gaping Chappes. 

Alua. A little farder signor Vandallc, and dan you may 
put V hed into de windo and cash de Wensh. -055 

Valid. Ick prey Vader dat you helpe de mee, Ick prey 
Goddie Vader. 

Pisa. Helpe you, but how.^ 

Frisc. Cut the Rope. 

Antho. Sir, He goe in and see, 2060 

And if I can, He let him downe to you. Exit Anthony. 

Pisa. Doe gentle MoiicJic: Why but here's a iest; 
They say, high climers haue the greatest falles; 
If you should fall ; as how youle doe I know not, 

2042 also] al so Q2 in all occurrences; Q2 in last. 
wery] weary Q2 etc. {both occurrences) cold;] cold, Q3 

2043 Ic] Ick Q2 etc. dene] de me Q2 etc. 2044 He] Hee Q2 etc. 
2045 Face] face Q2, 

2048 hanging] hanging, Q3 2049 Mahomets] 'Mahomets Q2 

2050 Antho.] Antho, Q3 They] they Q3 who so ere] whosoere Q2 etc. 

2051 That] They Q3 2052 Lippes] lips Q2 etc. 2053 from] srom Qi 
2054 and] aud Q2 signor] signior Q2 etc. dan] den Q2 etc. 

you] omitted Q2 etc. 2055 Wensh] wensh Q2 etc. 2056 Vand.] 
turned a Q2 J'and, Q3 mee] me Q2 etc. 2057 Goddie] goodie Q2 etc. 
2060 goe] go Q2 2062 Mouche] Mouche Q2 here's] heer's Q3 
iest;] iestf Q3 2064 fall;] fall? Q3 


Birlady I should doubt me of my Sonne : 2065 

Pray to the Rope to hold : Art thou there Moiiche? 

Enter Anthony aboiie. 

Antho. Yes sir, now you may chuse, whether youle stay 
till I let him downe, or whether I shall cut him downef 

Frisc. Cut him downe maister Mozcsc, cut him downe, 
And let's see, how hele tumble. 2070 

Pisa. Why sauce, who ask'd your counsaile? 
Let him downe. [The basket is lozcered. 

What, with a Cusshion too? why you prouided 
To lead your life as did Diogines; 
And for a Tubb, to creepe into a Basket. 2075 

Vanda. Ick sail seg v Vader, Ick quame here to your 
Huise and spreake tol de Dochterken. 

Frisc. M. Mend all, you are welcome out of the Basket : 
I smell a Ratt, it was not for nothing, that you lost me. 

Vand. Oh skellum, you run away from me. 2080 

Pisa. I thought so sirra, you gaue him the slip. 

Frisc. Faw, no f or-sooth ; He tell you how it was : when 
we come from Bucklers-Burie into Corn-Wale, and I had 
taken the Cloake, then you should haue turnd downe on 
your left hand and so haue gone right forward, and so 2085 

2066 Mouchc] yiouclie Q2 

2067 Antho.] Anthony. Q3 2069 maister] master Q2 etc. 
downe,] So in W downe B downe, Q2 etc. 2070 let's] lets Q2 etc. 
see,] see Q2 etc. hele] heele Q2 etc. 2071 counsaile] 

counsell Q2 etc. 2073 What,] What Q2 etc. 2074 lead] leade Q2 etc. 

Diogines] turned j Qi Diogenes Q2 etc. 2075 Tubb] Tub Qs 

2076 Vanda.] Vand. Q2 etc. sail] sal Q2 etc. 2077 Huise] Huis Q2 etc. 

2078 Frisc.] Frisc B M.] Master Q2 etc. 2079 Ratt] Rat Q3 

me] mee Q2 etc. 2080 skellum] skellam Q2 etc. 2082 when] when Q3 

2083 we] we Q3 Bucklers-Burie] Bucklers-Bury Q2 etc. 

Corn-Wale] Cornwallc Q2 etc. 2084 Cloake] Cloke Qj, turnd] 

turn'd Q2 etc. downe] down Q2 downe Qi 

2085 hand] hand, Q2 etc. forward] forward Qi 


turnd vp againe, and so haiie crost the streate ; and you like 
an Asse. 

Pisa. Why how now Rascall; is your manners suchf 
You asse, you Dolt, why led you him through Corn-hill, 
Your way had been to come through Canning streete. 2090 

Frisc. Why so I did sir. 

Pisa. Why thou seest yee were in Corn-Hill. 

Fris. Indeed sir there was three faults, the Night was 
darke, ]\Iaister Mendall drunke, and I sleepy, that we could 
not tell very well, which way we went. 2095 

Pisa. Sirra I owe for this a Cudgelling : 
But Gentlemen, sith things haue faulne out so, 
And for I see Vandalle quakes for cold. 
This night accept your Lodginges in my house. 
And in the morning forvvard with your marriage, 2100 

Come on my sonnes, sirra fetch vp more wood. 


[Scene IV. Pisaro's House.] 
Enter the three Sisters. 

Laur. Nay neuer weepe Marina for the matter, 
Teares are but signes of sorrow, helping not. 

2086 streate] streete Q2 street Qt, like an] likean Qt, 

2088 Why] Why, Q2 etc. 

how now] how now Q3 Rascall ;] .Raskall Q2 etc. 2089 asse] Asse Q2 etc. 

why] why Q3 2090 way] way Q2, streete.] street. Q2 street, Q2, 

2091 Why] Why, Q2 etc. 2092 Why] Why, Q2 etc. seest] sayst Q2 etc. 

were] were Q3 Corn-Hill] Corne-hill Q2 Corn-hill Q2, 

2093 Fris.] Frisc. Q2 etc. was] was Q3 (both occurrences) 

2094 Maister] M. Q2 etc. we] wee Qz 2095 well, which way we went] 
well, wich way we went Q3 2096 owe] owe Qt, a] omitted Q3 

2097 faulne] falne Q2 fallen Q3 2099 Lodginges] lodgings Q2 etc. 

2100 forward] forward Q3 with] with Qz 2101 wood] wood Qz 

2101 s.d. Exeunt.] Exeunt: Q2 Exeunt Qz Sisters.] Sisters, Qz 

2102 Nay] Nay, Q2 etc. 


Man. Would it not madde one to be crost as I, 
Being in the very hight of my desire f 2105 

The strangers frustrate all : our true loue's come, 
Nay more, euen at the doore, and Haruics armes 
Spred as a Rayne-bow ready to receiue me, 
And then my Father meete vs : Oh God, oh God. 

Math. Weepe who that list for me, y'fayth not I, 21 10 
Though I am youngest yet my stomack's great : 
Nor tis not father, friends, nor any one. 
Shall make me wed the man I cannot loue : 
He haue my will ynfayth. y'fayth I will. 

Laur. Let vs determine Sisters what to doe, 2 1 1 5 

My father meanes to wed vs in the morning. 
And therefore something must be thought vpon. 

Mari. Weele to our father and so know his minde, 
I and his reason too, we are no fooles, 
Or Babes neither, to be fedde with words. 2120 

Laur. Agreede. agreede : but who shall speake for all.^ 

Math. I will. 

Mari. No I. 

Laur. Thou wilt not speake for crying. 

Mari. Yes, yes I warrant you, that humors left, 2125 

Bee I but mou'de a little. I shall speake. 
And anger him I feare, ere I haue done. 

2105 hight] height Q2 etc. 2106 true] rrue Qj, 2107 armes] 
armes, Q3 2108 iRayne-bow] Raine-bowe Q2 Raine-bow Q3 
Spred] Spread Q3 me,] me. Q3 2109 Father] father Q3 oh] Oh Q3 

21 10 Math.] Mat. Q2 etc. 21 10 y'fayth] y faith Q2 y faith Q3 

21 1 1 Though] Thongh Q2 stomack's] stomackes Q2 etc. great :] great! Q2 
21 13 loue:] loue; Qi ynfayth] in fayth Q:^ 21 17 omitted Q2 

2119 I] I, Qz we] wee Qz 2121 Agreede, agreede] Agreed, agreed Q3 
2123 omitted Q3 


Enter Anthony. 

All. Whom Anthony our friend, our Schoole-maister ? 
Now helpe vs Gentle Anthony, or neuer. 

Antho. What is your hastie running chang'd to prayer, 2130 
Say, where were you going? 

Laiir. Euen to our father, 
To know what he intendes to doe with vs. 

Antho. Tis bootlesse trust mee, for he is resoki'd 
To marry you to. 2135 

Mari. The Strangers. 

Antho. Yfayth he is. 

Alath. Yfayth he shall not. 
Frenchman, be sure weele plucke a Crow together. 
Before you force mee giue my hand at Church. 2140 

Mart. Come to our Father speach this comfort finds. 
That we may scould out griefe, and ease our mindes. 

Anth. Stay, Stay Marina, and aduise you better, 
It is not Force, but Pollicie must serue : 

The Dores are lockt, your Father keepes the Keye, 2145 

Wherefore vnpossible to scape away : 
Yet haue I plotted, and deuis'd a drift, 
To frustrate your intended mariages. 
And giue you full possession of your ioyes : 
Lanrcntia, ere the mornings light appeare, 2150 

You must play Anthony in my disguise. 

2128 maister] master Q2 etc. 2130 hastie] hasty Q3 
2131 going?] going: Q2 etc. 2132 Lanr.] Laiir. Q2 

2135 To] dropped to next line Q2 

2136 Marl] Mari Qz 2137 omitted Q3 

2138 Yfayth] Yfaith Q2 Y faith Qz 2139 Frenchman] Frenchmen Q3 
2140 mee] me Q2 etc. 2141 Father] Fathers Q2 etc. 

2142 out] our Q3 griefe,] comma doubtful B omitted Q2 etc. 

2143 Anth.] Antho. Q2 etc. Stay] Stay, Q3 

2144 Force] force Q3 2145 Dores] Doores Q3 


Math. 1 

Mari. j 

Anthony, what of vsf What shall we wearef 

Anth. Soft, soft, you are too forward Girles, I sweare, 
For you some other drift deuisd must bee/ 
One shaddow for a substance : this is shee. 2155 

Nay weepe not sweetes, repose vpon my care, 
For all alike, or good or bad shall share : 
You will haue Haruic, you Heigham, and you Ned; 
You shall haue all your wish, or be I dead : 
For sooner may one day the Sea lie still, 2160 

Then once restraine a Woman of her will. 

All. Sweete Anthony, how shall we quit thy hire? 

Anth. Not gifts, but your contentments I desire: 
To helpe my Countrimen I cast about, 

For Strangers loues blase fresh, but soone bume out: 2165 
Sweete rest dwell heere, and f rightfull feare obiure, 
These eyes shall wake to make your rest secure : 
For ere againe dull night the dull eyes charmes. 
Each one shall f ould her Husband in her armes : 
Which if it chaunce, we may auouch it still, 2170 

Women & Maydes will alwayes haue their will. Exeunt. 

[Scene V. A Room in Pisaro's Honsc] 

Enter Pisaro and Frisco. 

Pisa. Are Wood & Coales brought vp to make a fire ? 
Is the Meate spitted ready to lie downe : 

2153 Anth.] A)itlw. Q2 etc. 2155 shee.] shee, Q3 

2156 sweetes,] sweetes Q3 2157 alike] a like Q3 

2162 All.] All, Q'i 2163 Aiith.] Antho. Q2 etc. 2166 heere] here Q3 

obiure] abiure Q^ 2167 your] you Q2 etc. 2170 chaunce,] 

chaunce Q2 etc. auouch] a uouch Q3 2171 s.d. Frisco.] Frisco, Q^ 

2n2 &] and Q2 etc. 



For Bakemeates He haiie none, the world's too hard : 

There's Geese too, now I remember mee; 2175 

Bid Maivdlin lay the Giblets in Past, 

Here's nothing thought vpon, but what I doe. 

Stay Frisco, see who ringes : looke to the Dore, 

Let none come in I charge, were he my Father, 

-Tie keepe them whilst I haue them : Fmco, who is it? 2180 

Frisc. She is come ynfayth. 

Pisa. Who is comef 

Frisc. jMistris Siishaiince, Mistris Moorcs daughter. 

Pisa. Mistris Susan, Asse? Oh she must come in. 

Frisc. Hang him, if he keepe out a Wench : 2185 

Yf the Wench keepe not out him, so it is. 

Enter Walgraue in Womans attire. 
Pisa. Welcome Mistris Susan, welcome; 

I little thought you would haue come to night ; 

But welcome (trust me) are you to my house : 

What, doth your Mother mende? doth she recouer? 2190 

I promise you I am sorry for her sicknesse. 

IValg. She's better then she was, I thanke God for it, 
Pisa. Now afore God she is a sweete smugge Girle, 

One might doe good on her ; the flesh is f rayle, 

Man hath infirmitie, and such a Bride, 2195 

Were able to change Age to hot desire : 

Harke you Sweet-heart, 

To morrow are my Daughters to be wedde, 

2174 Bakemeates] Bake Meates Q2 etc. 

2175 mee] me Q2 etc. 2178 ringes:] ringes, Q3 2179 he] hee Qs 
2180 them:] them, Q3 2181 ynfayth] ynfaith Q3 

2183 SushauTice] Sushaucne Q3 daughter.] daughter, Qz 

2185 he] hee Q3 2186 s.d. Walgraue] Walgraue Q3 Womans] 

Womans Q2, attire] atire Q2 etc. 2192 she] shee Q3 it,] it. Q2 etc. 

2193 Pisa.] Pisa, Q2 2195 Bride,] Bride Q3 

2197 Sweet] sweet Q3 


I pray you take the paines to goe with them. 

IV dig. If sir youle giue me leaiie, He waight on them. 2200 

Pisa. Yes marry shall you, and a thousand thankes, 
Such company as you my Daughters want, 
Maydes must grace Alaydes, when they are married : 
1st not a merry life (thinkes thou) to wed. 
For to imbrace, and be imbrac'd abed. 2205 

IValg. I know not what you meane sir. 
Heere's an old Ferret Pol-cat. 

Pisa. You may doe, if youle follow mine aduice; 
I tell thee Mouse, I knew a Wench as nice : 
Well, shee's at rest poore soule, I meane my Wife, 2210 

That thought (alas good heart) Loue was a toy, 
Vntill (well, that time is gon and past away) 
But why speake I of this : Harke yee Sweeting, 
There's more in Wedlocke, then the name can shew ; 
And now (birlady) you are ripe in yeares : 2215 

And yet take heed Wench, there lyes a Pad in Straw ; 

IValg. Old Fornicator, had I my Dagger, 
Ide breake his Costard. 

Pisa. Young men are slippery, fickle, wauering; 
Constant abiding graceth none but Age : 2220 

Then Maydes should now waxe wise, and doe so, 
As to chuse constant men, let fickle goe. 
Youth's vnregarded, and vnhonoured : 
An auncient Man doth make a Mayde a Matron : 
And is not that an Honour, how say you.^ how say you? 2225 

JValg. Yes forsooth. 
(Oh old lust will you neuer let me goe.) 

2200 waightl waite Q2 etc. 2206 JValg.] ITalg. Q3 

sir.] sir, Q3 2208 aduice;] aduise: Q3 2213 Sweeting] sweeting Q^ 

2215 ripe in] in ripe Q3 2217 ll'alg.] I'Valg. Q3 

2224 auncient] ancient Q3 Mayde] mayde Q3 2226 IValg.] VValg. Q3 

forsooth.] forssoth, Q2 etc. 


Pisa. You say right well, and doe but thinke thereon, 
How Husbands, honored yeares, long card-for wealth, 
Wise stayednesse, Experient gouernment, 2230 

Doth grace the Mayde. that thus is made a Wife, 
And you will wish your selfe such, on my life. 

IValg. I thinke I must turne womankind altogeather. 
And scratch out his eyes : 
For as long as he can see me, hele nere let me goe. 2235 

Pisa. But goe (sweet-heart) to bed, I doe thee wrong, 
The latenesse now, makes all our talke seeme long. 

Enter Anthony. 
How now Mou'che, be the Girles abed.^ 

Anth. Mathca (and it like you) faine would sleepe, 
but onely tarrieth for her bed-fellow. 2240 

Pisa. Ha, you say well : come, light her to her Chamber, 
Good rest wish I to thee ; wish so to mee, 
Then Susan and Pisaro shall agree : 
Thinke but what ioy is neere your bed-fellow. 
Such may be yours ; take counsaile of your Pillow : 2245 

To morrow weele talke more ; and so good night, 
Thinke what is sayd, may bee, if all hit right. 

Walg. What, haue I past the Pikes : knowes he not Nedf 
I thinke I haue deseru'd his Daughters bed. 

Anth. Tis well, tis well : but this let me request, 2250 
You keepe vnknowne, till you be laide to rest : 

2229 Husbands,] Husbands Q3 honored] honoured Q3 

2231 Mayde,] mayde Q3 2233 Walg.] 

Walg. H3 H4 H6 Walg P H5 womankind altogeather] womankinde 

ahogether Q3 2235 he] hee Q3 hele] heele Q3 

2238 Mowche] Mo wche Q2 2239 Anth.} Antho. Q2 etc. 

2241 Pisa.] Fisa. Q3 you say] say you Q2 etc. come,] come Q2 etc. 

2242 mee] me Q2 2243 5jr.ya»] Susan, Q;} 2245 counsaile] 
counsell Q2 etc. 2247 bee] be Q2 etc. 2248 What,] What Q2 etc. 
Nedf] Ned, Q2 etc. 2249 deseru'd] deseru'de Q2 etc. 

2250 Anth.] Antho. Q2 etc. well,] well Q3 2251 laide] layde Q2 etc. 


And then a good hand speed you. 

IValg. Tut, nere feare mee, 
We two abed shall neuer disagree. Exeunt Antho. & Walg. 

Frisc. I haue stood still all this while, and could not 2255 
speake for laughing : Lord what a Dialogue hath there bin 
betweene Age and Youth. You do good on her.^ euen as 
much as my Dutchman will doe on my young Mistris : 
Maister, follow my counsaile ; then send for M. Hcigham 
to helpe him, for He lay my Cappe to two Pence, that hee 2260 
will be asleepe to morrow at night, when he should goe to 
bed to her : Marry for the Italian, he is of an other humor, 
for there'le be no dealings with him, till midnight ; for hee 
must slauer all the Wenches in the house at parting, or he is 
no body : hee hath been but a litle while at our House, yet 2265 
in that small time, hee hath lickt more Grease from our 
Maivdlins lippes, then would haue seru'd London Kitchin- 
stuffe this tweluemonth. Yet for my money, well fare the 
Frenchman, Oh hee is a forward Lad. for heele no sooner 
come from the Church, but heele fly to the Chamber ; why 2270 
heele read his Lesson so often in the day time, that at night 

2253 IValg.] IValg Q3 mee] me Q2 etc. 2254 disagree.] disagree : Qs 

Antho.] Antho H4 ll^alg.] JValgr. Q2 etc. 2255 and] & Q2 etc. 

2256 speake] speak Q3 bin] beene Q2 etc. 2258 Dufrhmau] 

Duchman Q2 etc. 

2259 Maister] Master Q2 etc. follow] Follow Q2 etc. counsaile;] 

counsel!; Q2 counsell; Q;i M.] Master Q2 etc. 2260 helpe] * 

help Q2 etc. Cappe] Cap Q2 etc. 2261 be] bee Q2 etc. he] hee Q2 etc. 

2262 an other] another Q2 etc. 2263 there'le] there will Q2 etc. 

till] til Q2 hee] he Q2 etc. 2264 parting.] parting Q3 

2265 hee] he Q2 etc been] bene Q2 etc. litle] little Q2 etc. House,] 

House Q2 etc. 2266 small] smal Q2 etc. hee] he Q2 etc. Grease] 

grease Q3 2267 Maivdlins lippes,] yiaudlins lips Q2 Maudlins lips Qi 

2268 tweluemonth.] tweluemonth Qt, 2269 hee] he Q2 etc. Lad] 

lad Q2 etc. heele] heel Q2, 2270 Church,] Church Q2 etc. from] 

fro Q2 2271 Lesson] lesson Q2 etc. 


like an apt Scholler, heele be ready to sell his old Booke to 
buye him a new. Oh the generation of Languages that 
our House will bring f oorth : why euery Bedd will haue a 
propper speach to himself e, and haue the Founders name 2275 
written vpon it in f aire Cappitall letters, Hcere lay, and so 

Pisa. Youle be a villaine still : Looke who's at dore? 

Frisc. Nay by the IMasse, you are M. Porter, for He be 
hang'd if you loose that office, hauing so pretty a morsell 2280 
vnder your keeping : I goe (old huddle) for the best Nose 
at smelling out a Pin- fold, that I know : well, take heede, 
you may happes picke vp Wormes so long, that at length 
some of them get into your Nose, and neuer out after : But 
what an Asse am I to thinke so, considering all the Lodg- 2285 
inges are taken vp already, and there's not a Dog-kennell 
empty for a strange Worme to breed in. 

[Act V. Scene I. A Room in Pisaro's House.'] 
Enter Anthony. 

Antho. The day is broke; Mathea and young Ned, 
By this time, are so surely linckt togeather, 
That none in London can forbid the Banes. 2290 

Laiircntia she is neere prouided for: 
So that if Haruies pollicie but hold, 
Elce-wheare the Strangers may goe seeke them Wiues : 
But heere they come. 

2272 heele] hele Q2 etc. Booke] booke Q2 etc. 2273 buye] buy Q2 etc. 

generation] generations Q2 etc. 2274 Bedd] Bed Q2 etc. 2275 propper] 

proper Q2 etc. 2276 Cappitall] Capital Q2 Capitall Q3 Heere] 

Here Q2 etc. 2277 foorth] forth Q2 etc. 2279 be] bee Q3 

2282 Pin-fold] Pin fold H2 2284 into] in Q3 

2289 time,] time H3456 togeather] together Q3 2293 Elce-wheare] 

Else-where Q2 etc. Wiues:] Wiues .^ Q3 


Enter Pisaro and Brozcnc [and Frisco]. 

Pisa. Six a clocke say you ; trust mee, forward dayes : 2295 
Harke you Mozvche, hie you to Church, 
Bid M. Bewford be in readinesse : 
Where goe you. that way ? 

Anth. For my Cloake, sir. 

Pisa. Oh tis well : and M. Browne, 2300 

Trust mee, your earely stirring makes me muse, 
Is it to mee your businesses 

Brown. Euen to your selfe : 
I come (I thinke) to bring you welcome newes, 

Pisa. And welcome newes, 2305 

More welcome makes the bringer : 
Speake, speake, good M. Broivnc, I long to hear them. 

Brow. Then this it is. Young Haruie late last night, 
Full weake and sickly came vnto his lodging, 
From whence this suddaine mallady proceedes : 2310 

Tis all vncertaine, the Doctors and his Friends 
Affirme his health is vnrecouerable : 
Young Hcigham and Ned Walgrauc lately left him, 
And I came hither to informe you of it. 

Pisa. Young ^I. Haruie sicke; now afore God 2315 

The newes bites neere the Bone : for should he die. 
His Liuing morgaged would be redeemed. 
For not these three months doth the Bond beare date : 
Die now, marry God in heauen defend it; 

2295 clocke] cloke Qt, 

2299 Anth.] Antho. Q2 etc. (Period omitted Q2) For] for Q3 

Cloake,] Cloake Q3 2300 Pisa.] Pisa H2 

2306 omitted Q3 2307 M.] M Q2 hear] heare Q2 etc. 2308 night,] 

night. Q3 2309 lodging,] lodging: Qs 2310 proceedes:] proceedes, Q3 

2313 Walgrauc] ll'algraue Q3 2315 Haruie] Haruy Qz etc. 

2317 redeemed] redeem'd Q2 etc. 2318 Bond] bond Qz 

2319 heauen] Heauen Q2, 


Oh my sweete Lands, loose thee, nay loose my life : 2320 

And which is worst, I dare not aske mine owne, 

For I take two and twenty in the hundred. 

When the Law giues but ten : But should he Hue, 

Hee carelesse would haue left the debt vnpaide. 

Then had the Lands been mine Pisaros owne, 2325 

Mine, mine owne Land, mine owne Possession. 

Brozv. Nay heare mee out. 

Pisa. You'r out too much already, 
Vnlesse you giue him life, and mee his Land. 

Brow. Whether tis loue to you, or to your Daughter, 2330 
I know not certaine ; but the Gentleman 
Hath made a deed of gift of all his Lands, 
Vnto your beautious Daughter faire Marina. 

Pesa. Ha, say that word againe, say it againe, 
A good thing cannot be too often spoken : 2335 

Mariim say you, are you sure twas shee. 
Or Mary, Margery ; or some other Mayde ? 

Brow. To none but your Daughter faire Marina ; 
And for the gift miight be more forcible. 

Your neighbour maister Moore aduised vs, 2340 

(W^ho is a witnesse of young H amies Will)' 
Sicke as hee is, to bring him to your house : 
I know they are not farre, but doe attende, 
That they may know, what welcome they shall haue. 

Pisa. What welcome sir; as welcome as new life 2345 

Giuen to the poore condemned Prisoner: 

2325 mine] mine, Q2 etc. 2326 Possession] possession Q2, 2327 mee] 
me Q2 etc. 2329 mee] me Q2 etc. 2332 Lands,] Lands. Q2 
2?i2)2) Daughter] Daughter, Q3 2334 Pesa.] Pisa. Q2 etc. 
2338 Maritta;] Marina. Q2 etc. 2340 maister] master Q2 etc. 
vs,] vs. Q2 2342 hee] he Q2 etc. 2343 farre,] farre H5 attende,] 
attende Q3 2345 What] What Q2 


Returne (good maister Brozcnc) assure tl-»eir welcome, 

Say it, nay sweare it ; for they'r welcome truly : 

For welcome are they to mee which bring Gold. 

See downe who knockes ; it may be there they are : 2350 

Frisco, call downe ray Sonnes, bid the Girles rise : 

Where's Mozcchc ; what, is he gon or no ? 

Enter Laurcntia in Anthonics attire. 

Oh heare you sirra, bring along with you 
Maister Balsaro the Spanish Marchant. 

Laiir. Many Balsaros I ; He to my Loue : 2355 

And thankes to Anthony for this escape. [Exit Laur. 

Pisa. Stay, take vs with you. Harke, they knocke againe, 
Come my soules comfort, thou good newes bringer, 
I must needes hugge thee euen for pure affection. 

Enter Harnic brougJit in a Chaire, Moore, Browne, 
Aliiaro, Vandallc, Delion, and Frisco. 

Pisa. Lift softly (good my friends) for hurting him. 2360 
Looke chearely sir, you'r welcome to my house. 
Harke M. Vandallc, and my other Sonnes, 
Seeme to be sad as grieuing for his sicknesse, 
But inwardly reioyce. ^Maister Vandallc, 
Signor Aliiaro, Monsieur Delion, 2365 

Bid my Friend welcome, pray bid him welcome : 
Take a good heart; I doubt not (by Gods leaue) 

2347 maister] master Q2 etc. welcome,] welcome: Q2, 

2348 nay] nay, Q2 they'r] they'r Qt, 2349 mee] me Q2 etc. 
2350 are:] are. Q3 2351 Frisco,] Frisco Q2 Frisc. Q3 In 
Q^ the word is indented as though to indicate the speaker. 
2352 Where's] Where's Q2 2354 Maister] Master Q2 etc. 

2359 s.d. Aluaro,] Aluaro Q2 etc. Delion,] Delia. Q2 Delio Q3 

2360 Pisa.] Pisa Q3 2362 Harke] Harke, Q2 etc. 

2364 reioyce.] reioyce, Q3 Maister] M. Q2 etc. 

2365 Monsieur] Monsieur Q^i 2366 Friend] friend Q3 


You shall recouer and doe well enough : 

(Yf I should thinke so, I should hange my selfe.) 

Frisco, got bid Marina come to mee. Exit Frisco. 2370 

You are a Witnesse sir, of this mans Will : 

What thinke you M. Moore, what say you to't ? 

Moor. Maister Fisaro, follow mine aduice : 
You see the Gentleman cannot escape, 

Then let him straight be wedded to your Daughter ; 2375 

So during life time, she shall hold his Land, 
When now (beeing nor kith nor kin to him) 
For all the deed of Gift, that he hath seald, 
His younger Brother will inioy the Land. 

Fisa. Marry my Daughter : no birlady. 2380 

Heare you Alimro, my Friend counsaile mee, 
Seeing young j\L Haruie is so sicke, 
To marry him incontinent to my Daughter, 
Or else the gift he hath bestowde, is vaine : 
Marry and hee recouer; no my Sonne, 2385 

I will not loose thy loue, for all his Land. 

Alua. Here you padre, do no lose his Lands, his hun- 
dred pont per anno, tis wort to hauar ; let him haue de ma- 
tresse Mari^iu in de mariage, tis but vor me to attendre vne 
day more : if he will no die, I sal giue him sush a Drincke, 2390 
sush a Potion sal mak him giue de Bonos nochcs to all de 

Fisa. Aluaro, here's my Keyes, take all I haue, 

2369 hange] hang Q2 etc. 2371 Witnesse] Witnesse Q2 
Will] Will Q2 2372 Moore] 'Sloore Q2 2^73 Moor.] Moor. Q2 
Maister] Master Q2 etc. aduice] aduise Q3 2377 When] When Q2 
beeing] being Q3 nor kith] not kith Q2 etc. 2378 seald] sealed Q3 
2381 counsaile] counsailes Q2 etc. mee,] mee. Q2 etc. 
2^3 Daughter.] Daughter, Q2 etc. 2386 loue,] loue Q2 etc. 
2387 lose] loose Q3 2389 Marina] 'Slarina Q2 vor] vot Q3 
mariage] marriage Q2 2390 sush] such Q3 2391 sush] such Q3 
sal] sail Q3 mak] make Q3 


My Money, Plate, W^ealth, Jewels, Daughter too : 

Now God be thanked, that I haue a Daughter, 2395 

worthy to be Aluarocs bedfellow : 

Oh how I doe admire and prayse thy wit. 

He straight about it; Heare you Maister Moore. 

Enter Marina and Frisco. 

Frisc. Nay fayth hee's sicke, therefore though hee be 
come, yet he can doe you no good ; there's no remedy but 2400 
euen to put your selfe into the hands of the Italian, that by 
that time that he hath past his grouth, young Hariiie will 
be in case to come vpon it with a sise of fresh force. 

[Exit Frisco. 

Mart. Is my Loue come. & sicke f I, now thou loust me, 
How my heart ioyes : Oh God, get I my will, 2405 

He driue away that Sicknesse with a kisse : 
I need not faine. for I could weepe for ioy. [aside] 

Pisa. It shall be so ; come hither Daughter. 
Maister Haruic, that you may see my loue 
Comes from a single heart vnfaynedly, 2410 

See heere my Daughter, her I make thine owne : 
Nay looke not strange, before these Gentlemen, 
I freely yeeld Marina for thy Wife. 

Harn. Stay, stay good sir. forbeare this idle worke, 
My soule, is labouring for a higher place. -415 

Then this vaine transitorie world can yeeld : 
\\niat. would you wed your Daughter to a Graue? 

2396 worthy] Worthy Q2 etc. 

Aluarocs bedfellow] Aluaros bed-fellow Q3 2398 Maister] Master Q2 

master Q3 Moore] 'Sloore Q2 2398 s.d. Marina] yiariiia Q2 

2399 fayth] faith Q3 2400 remedy] temedy [ ?] Q3 

2404 Mari.] Mart. Q2 I,] I Q2 etc. me,] me Q3 

2406 Sicknesse] sicknesse Q3 2407 ioy.] ioy, Q3 2409 Maister] 

Master Q2 etc. 2414 Hani.] Harn. Q2 2415 soule,] soule Q2 etc. 

2416 transitorie] transitory Q2 etc. 2417 What.] What Q2 etc. 


For this is but Deaths modell in mans shape : 

You and Aluaro happie Hue togeather : 

Happy were I. to see you Hue togeather. 2420 

Pisa. Come sir, I trust you shaU doe well againe : 
Heere. heere. it must be so ; God giue you ioy, 
And blesse you (not a day to Hue togeather.) 

Vand. Hort ye broder, will ye let den ander heb your 
Wiue? nempt haer, nempt haer your selue? 2425 

Aliia. No, no ; tush you be de f oole, here be dat sal spoyle 
de mariage of hem : you haue deceue me of de fine Wensh 
signor Harney, but I sal deceue you of de mush Land. 

Haru. Are all things sure Father, is all dispatch'd ? 

Pisa. What intrest we haue, we yeeld it you : 2430 

Are you now satisfied, or restes there ought ? 

Ham. Nay Father, nothing doth remaine, but thankes : 
Thankes to your selfe first, that disdayning mee. 
Yet loude my Lands, and for them gaue a Wife. 
But next, vnto Aluaro let me turne, 2435 

To courtious gentle louing kind Aluaro, 
That rather then to see me die for loue. 
For very loue, would loose his beawtious Loue. 

Vand. Ha, ha, ha. 

2418 but] omitted Q2 etc. shape:] shape, Q3 2419 happie] 
happy Q2 etc. togeather:] together: Q2 together. Q3 
2420 togeather] together Q2 etc. 

2422 Heere, heere] Here, here Q2 etc. so ;] so : Q3 ioy,] ioy Q3 

2423 togeather] together Q2 etc. 2424 ye] the Q3 ye] yee Q3 
2425 nempt haer,] omitted Qz 2426 Alua.} Aliia H Q2, spoyle] 
spoile Q2 etc. 2427 mariage] marriage Q2 deceue] deceiue Q2 etc. 
de] the Q3 2428 signor] signior Q2 etc. Haruey] Haruie Q2 etc. 
deceue] deceiue Q3 2430 intrest] interest Q2 etc. haue,] haue Q2 etc. 
2431 restes] rests Q2 etc. 2433 mee] me Q2 etc. 

2434 loude] lou'd Q2 etc. 2436 courtious gentle] courteous, gentle, Q2 etc. 
louing] louing; Q2 louing, Q3 2438 loose] lose Q2 
beawtious] beauteous Q2 etc. 2439 ha.] ha H 


Deli. Signor Aluaro, giue him de ting quickly sal make 2440 
hem dy, autremant you sal lose de fine Wensh. 

Alua. Oyimc die hauesse allhora appressata la mano al mio 
core, SUCH ciirato ate, I cJic longo sci tii arriuato^ 6 cicl'i, 6 terra. 

Pisa. Am I awake ? or doe deluding Dreames 
Make that seeme true, which most my soule did feare/* 2445 

Haru. Nay fayth Father, it's very certaine true, 
I am as well as any man on earth : 
Am I sicke sirres.^ Looke here, is Haruie sickef 

Pisa. What shall I doe? What shall I say? 
Did not you counsaile mee to wed my Childe ? 2450 

What Potion f Where's your helpe, your remedy. 

Ham. I hope more happy Starres will reigne to day, 
And don Aluaro haue more company. 

Enter Anthonie. 

Antho. Now Anthony, this cottens as it should. 
And euery thing sorts to his wish'd effect : 2455 

Haruie ioyes Moll : my Dutchman and the French, 
Thinking all sure, laughs at Aluaros hap; 
But quickly I shall marre that merrie vaine, 

2440 Deli.] Deli, Q3 Signor] Signior Q2 etc. him] me Q3 
ting] ring Q3 quickly] cjuickely Q2 etc. sal] sail Q2 etc. 

2441 lose] loose Q3 2442 Ahia.] Alua, Q3 
Oyime] Oyme Q2 etc. allhora] al hora Q2 etc. 

2443 core, 6] coro, Q2 etc. sei] sci Q3 arriuato, o . . . 0] 
ariuato, . . . Q2 etc. 

2444 awake?] awake Q2 awake, Q3 Dreames] Dreames, Q2 etc. 
2446 Haru.] Haru B Q3 fayth] faith Q2 etc. 244S sirres] sirs Q2 etc. 
Haruie] Haruy Q2 2449 What] What Q2 What] what Q2 etc. 

2450 counsaile mee] counscll me Q2 etc. Childe] childe Q2 etc. 

2451 Potion] Portion Q3 helpe,] helpe Q3 2452 Starres] 
starres Q2 etc. reigne] raigne Q2 etc. day,] day. Q2 etc. 
2453 don] Don Q2 etc. 2453 s.d. Attthonie] Anthony Q2 etc. 
2456 Haruie] Haruy Q2 etc. 2457 laughs] laughes Q2 etc. 
2458 merrie] merry Q2 etc. 



And make your Fortunes equall with your Friends. 

Pisa. Sirra Mozvclic, what answere brought you backe ? 2460 
Will maister Balsaro come, as I requested/ 

Anth. Maister Balsaro ; I know not who you meane. 

Pisa. Know you not Asse, did I not send thee for him ? 
Did not I bid thee bring him, with the Parson ? 
What answere made hee, will hee come or nof 2465 

Anth. Sent me for him : why sir, you sent not mee, 
I neither went for him, nor for the Parson : 
I am glad to see your Worship is so merrie. Knocke. 

Pisa. Hence you f orgetfull dolt : 
Looke downe w-ho knockes ? Exit Antho. 2470 

Enter Frisco. 

Prise. Oh Alaister, hange your sel f e : nay neuer stay for 
a Sessions : Maister Vandalle confesse your selfe, desire the 
people to pray for you ; for your Bride shee is gone : Lau- 
rent ia is run away. 

Vanda. Oh de Diabolo, de mal-fortune : is matresse 2475 
Laurentia gaen awech ? 

Pisa. First tell mee that I am a liuelesse coarse ; 
Tell mee of Doomes-day, tell mee what you will, 

2460 answere] answer Q2 etc. 2461 maister] master Q2 etc. 

2462 Anth.] Antho. Q2 etc. Maister] Master Q2 etc. 

2463 Asse,] Asse; Qz etc. did I not] did not I Q2 etc. 

2464 Did not I] Did I not Q2 etc. 2465 answere] answer Q2 etc. 
hee] he Q2 etc. {both occurrences) 2466 Anth.] Antho. Q2 etc. 
him:] him; Q3 mee] me Q2 etc. 2468 Worship] worship Q3 
merrie] merry Q2 etc. Knocke] knocke Q2 etc. 2469 Pisa.] 
Pisa Qs dolt] Dolt Q3 2470 knockes] knocks Q2 etc. 

Antho.] Anthony. Q2 etc. 2471 Maister, hange] Master, hang Q2 etc. 
nay] nay, Q2 etc. 2472 Maister] Master Q2 etc. Vandalle] 
Vandalle, Q3 2473 shee] she Q2 2474 run] runne Q2 etc. 
2475 Vanda.] Vand. Q2 etc. 2476 awech?] awech. Q2 etc. 
2477 mee] me Q2 etc. 2478 mee] me Q2 etc. day,] day,, Q3 
mee] me Q2 etc. 


Before you say Laurentia is gone. 

Mari. Maister Vandalle, how doe you feele your selfef 2480 
What, hang the head ? fie man for shame I say, 
Looke not so heauie on your marriage day. 

Haru. Oh blame him not, his griefe is quickly spide, 
That is a Bridegroome, and yet wants his Bride. 

Enter Heigham, Laurentia, Balsaro, & Anthony. 

Bals. Maister Pisaro, and Gentlemen, good day to all : 2485 
According sir, as you requested mee, 
This morne I made repaire vnto the Tower, 
Where as Laurentia now was married : 
And sir, I did expect your comming thither ; 
Yet in your absence, wee perf orm'd the rites : 2490 

Therefore I pray sir, bid God giue them ioy. 

Heigh. He tels you true, Laurentia is my Wife; 
Who knowing that her Sisters must be wed ; 
Presuming also, that you'le bid her welcome. 
Are come to beare them company to Church. 2495 

Haru. You come too late, the Mariage rites are done : 
Yet welcome twenty- fold vnto the Feast. 
How say you sirs, did not I tell you true. 
These Wenches would haue vs, and none of you. 

Laur. I cannot say for these; but on my life, 2500 

This loues a Cusshion better then a Wife. 

Mall. And reason too, that Cusshion fell out right, 
Else hard had been his lodging all last night. 

2480 Maister] Master Q2 etc. 2482 heauie] heauy Q2 etc. day.] day, Q3 
2483 Haru.] Haru, [ ?] Q2 2484 Bridegroome] Bridegrome Q2 etc. 
Bride.] Bride, Q2 2484 s.d. &] and Q2 etc. Anthony.] Anthony, Q3 
2485 Maister] Master Q2 etc. 2488 Where as] Whereas Q3 
2489 sir,] sir Q3 2490 wee] we Q2 etc. 2492 true,] true Q2, 
Wife;] Wife, Q2 etc 2494 also,] also Q3 welcome,] welcome. Q2 etc. 
2496 too] to Q2 etc. 2498 did not I] did I not Q2 etc. 
2500 Laur.] Laurentia. Q3 2501 Cusshion] Cushion Q3 
2502 Cusshion] Cushion Q2 etc. 2503 been] beene Q2 etc. 


Bals. Maister Pisaro, why stand you speachlesse thus ? 

Pisa. Anger, and extreame griefe enforceth mee. 2505 
Pray sir, who bade you meete mee at the Tower ? 

Bals. Who sir ; your man sir, Mon'cJie ; here he is. 

Anth. Who I sir. meane you mee ? you are a iesting man. 

Pisa. Thou art a Villaine, a dissembling Wretch, 
Worser then Anthony whom I kept last : 2510 

Fetch me an Officer, He hamper you, 
And make you sing at Bridc-wcll for this tricke : 
For well he hath deserude it, that would sweare 
He went not foorth a dores at my appoyntment. 

Anth. So sweare I still, I went not foorth to day. 2515 

Bals. W^hy arrant Iyer, wert thou not with mee? 

Pisa. How say you maister Browne, went he not foorth ? 

Brozv. Hee, or his likenesse did, I know not whether. 

Pisa. What likenesse can there be besides himself e.^ 

Laur. My selfe ( forsooth) that tooke his shape vpon me, 2520 
I was that Mowchc that you sent from home : 
And that same Mowchc that deceiued you. 
Effected to possesse this Gentleman : 
Which to attaine, I thus be guil'd you all. 

Frisc. This is excellent, this is as fine as a Fiddle : you 
M. Heigham got the Wench in Mowchcs apparell ; now let 2526 
Mowchc put on her apparell, and be married to the Diitch- 
fiian: How thinke you, is it not a good vize.^ 

2504 Maister] Master Q2 master Q3 2505 mee] me Q2 etc. 

2506 mee] me Q2 etc. 2507 Bals.] Bals Q3 sir,] sir P 

2508 Anth.] Antho. Q2 etc. mee] me Q2 etc. 251 1 an] no impression 

of n in Hs Officer] officer Q3 2513 well] we 1 H5 P 

deserude] deseru'de Q3 2514 dores] doores Q2, appoyntment] appiont- 

ment Q3 2515 Anth.] Antho. Qz H3 H6 P Antho H4 H5 

2516 mee] me Q2 etc. 2517 maister] master Q2 etc. 

2518 Hee,] Hee Q3 2520 me,] me : Q2, 

2524 attaine,] attaine Q3 be guil'd] beguil'd Qz all.] all Q3 

2525 Fiddle:] Fiddle; Q3 2526 M.] M, Q3 2527 Dutch-] Duch- Q2 
2528 Maister] Master Q2 etc. shake] shafe Q2 


Moor. Maister Pisaro, shake ofif melancholy, 
When thinges are helpelesse, patience must be vs'd. 2530 

Pisa. Talke of Patience ? He not beare these wronges : 
Goe call dovvne Matt, and mistris Susan Moore, 
Tis well that of all three, wee haue one sure. 

Moor. Mistris Susan Moore, who doe you meane sir? 

Pisa. Whom should I meane sir, but your Daughter/* 2535 

Moor. You'r very pleasant sir: but tell me this. 
When did you see her, that you speake of herf 

Pisa. I, late yester-night, when she came heere to bed. 

Moor. You are deceiu'd, my Daughter lay not heere. 
But watch'd with her sicke mother all last night. 2540 

Pisa. I am glad you are so pleasant M. Moore, 
You'r loth that Susan should be held a sluggard : 
What man, t'was late before she went to bed, 
And therefore time enough to rise againe. 

Moor. Maister Pisaro, doe you floute your friends ; 2545 
I well perceiue if I had troubled you, 
I should haue had it in my dish ere now : 
Siisan lie heere ? 'am sure when I came f oorrh, 
I left her fast asleepe in bed at home; 
Tis more then neighbour-hood to vse me thus. 2550 

Pisa. Abed at your house .^ tell me I am madd, 
Did not I let her in adores my selfe, 
Spoke to her, talk'd with her, and canuast with her; 
And yet she lay not heere ? What say you sirra? 

2530 thinges] things Q2 etc. 2531 Patience] patience Q2 

2533 wee] we Q2 etc. 2535 sir,] sir : Q2 etc. 2538 Pisa.] Pisa Q3 

deceiu'd] deceiued Q3 2541 Moore] 'Moore Q2 

2542 be held] beheld Q3 2543 t'was] t was Q2 twas Q3 

2543 before] defore W 

2545 Moor.] yioor. Q2 Maister] Master Q2 etc. Pisaro] Pisaro Q3 
2548 'am] I am Q3 foorrh] foorth Q2 etc. 2550 neighbour-] 
neighbour H5 2551 madd] madde Q3 2552 selfe] se fe H 
2553 canuast] canuest Q2 conuerst Q3 her;] her: Q3 


Antlio. She did, she did ; I brought her to her Chamber. 2555 

Moor. I say he lyes (that sayth so) in his throat. 

Antho. ]Masse now I remember me, I lye indeed. 

Pisa. Oh how this frets mee : Frisco, what say you? 

Frisc. What say I ? Marry I say, if shee lay not heere, 
there was a familiar in her likenesse ; for I am sure my Mai- 2560 
ster and she were so familiar togeather, that he had almost 
shot the Gout out of his Toes endes, to make the Wench 
beleeue he had one tricke of youth in him. Yet now I re- 
member mee shee did not lye heere ; and the reason is, be- 
cause shee doth lye heere, and is now abed with mistris 2565 
Mathca; witness^ whereof, I haue set to my Hand & Seale, 
and meane presently to fetch her. Exit Frisco. 

Pisa. Doe so Frisco. Gentlemen and Friends, 
Now shall you see how I am wrong'd by him. 
Lay shee not heere? I thinke the world's growne wise, 2570 
Plaine folkes (as I) shall not know how to Hue. 

Enter Frisco. 

Frisc. Shee comes, shee comes : a Hall, a Hall. 
Enter Mathea, and Walgraue in IVomans attire. 

Walg. Nay blush not wench, feare not, looke chearfuUy. 
Good morrow Father ; Good morrow Gentlemen : 
Nay stare not, looke you heere, no monster I, 2575 

But euen plaine Ned : and heere stands Matt my Wife. 
Know you her Frenchman? But she knowes me better. 
Father, pray Father, let mee haue your blessing. 

2556 Moor.] Moor H he] hee Q3 

2559 Frisc] Frisc Q2 Marry] marry Qs 2560 Mai-] Ma- Q2 ma- Q3 

2561 she] shee Q3 togeather] together Q3 he] hee Q2 etc. 

2563 beleeue] beleene Q2 2564 shee] she Q2 2565 mistris] 

Mistris Q2 mistrisse Q3 

2568 Frisco.] Frisco W Q2 Frisco, Q3 2569 see] see, Q2 etc. 

2570 shee] she Q2 etc. world's] World's Q3 

2571 s.d. Frisco.] Frisco, Qs 2573 JValg.] Walg P H3 H4 
2575 I,] I. Q2 etc. 2577 her] her, Q3 2578 mee] me Q2 etc. 


For I haue blest you with a goodly Sonne; 

Tis breeding heere yfayth, a iolly Boy. 2580 

Pisa. I am vndone, a reprobate, a slaue ; 
A scorne, a laughter, and a iesting stocke : 
Giue mee my Child, giue mee my Daughter from you. 

Moor. Maister Pisaro, tis in vaine to fret, 
And fume, and storme, it little now auayles : 2585 

These Gentlemen haue with your Daughters helpe, 
Outstript you in your subtile enterprises : 
And therefore, seeing they are well descended, 
Turne hate to loue, and let them haue their Loues, 

Pisa. Is it euen so; why then I see that still, 2590 

Doe what we can. Women will haue their Will. 
Gentlemen, you haue outreacht mee now, 
Which nere before you, any yet could doe : 
You, that I thought should be my Sonnes indeed, 
Must be content, since there's no hope to speed : 2595 

Others haue got, what you did thinke to gaine ; 
And yet beleeue mee, they haue tooke some paine. 
Well, take them, there ; and with them, God giue ioy. 
And Gentlemen, I doe intreat to morrow. 
That you will Feaste with mee, for all this sorrow : 2600 

Though you are wedded, yet the Feast's not made : 
Come let vs in, for all the stormes are past, 
And heapes of ioy will follow on as fast. 2603 


2580 yfayth] yfaith Q3 2581 vndone,] vndone Qs 

2582 stocke :] stocke. Q3 

2583 mee] me Q2 etc. (both occurrences) 2584 Maister] Master Q2 etc. 
2589 Loues,] Loues. Q3 2590 still,] still. Q2 

2591 we] you Qs Will.] Will, Q2 2592 Gentlemen,] Gentlemen Qs 
mee] me Q2 etc. 2593 Which] Which Q2 2595 content,] content Q3 
2596 thinke] rhinke Q3 gaine;] gaine: Q3 2597 mee,] me, Q2 me Q3 
paine.] paine, Q2 2598 Well,] Well. Q2 Well Q3 
them,] Black-letter m iu Qi them, Q2 them Qs 


Englishmen for My Money offers a few interesting examples 
of Elizabethan stage technique. The play was written for the 
Admiral's Men at the Rose. For convenience of reference the 
main features of the action are here epitomized: 

I.i. The action begins before Pisaro's house. Pisaro solilo- 
quizes ; the first few lines show he is out-doors. His daughters 
and their tutor " enter " discussing their studies. At line 138 
Pisaro says to the daughters " Get you in ", and at line 210 he 
continues " He in and rate them ", showing that he is still out- 
side. " Exit." 

I.ii. The same. " Enter Haruie, Heigham, and Walgraue " 
walking outside on their way to Pisaro's house. At line 282 An- 
thony bids them " Goe chearely in ", showing that the scene is 
before Pisaro's house; this is confirmed at line 299 when he re- 
marks "The Doore doth ope ", whereupon Frisco enters. Later 
when Frisco has gone out and Harvy has bidden "Ned, knocke 
at the doore ", the three daughters " Enter " and welcome the 
youths. The action is still in front of the house, for Laurentia 
says, " This open streete perhaps suspition moues, Fayne we 
would stay, bid you walke in more rather" (370-1). Hereupon 
the sisters go in (" Exeunt Sisters ") and the three lovers " Ex- 
eunt " to the Exchange. 

I.iii. The scene represents the Exchange, as appears from 
several remarks — "here at the Burse" (393), " Th' Exchange 
is waxen thin" (679), etc. The stage direction reads, "Enter 
Pisaro, Delion the Frenchman, Vandalle the Dutchman, Aluaro 
the Italian, and other Marchants, at seuerall doores ". Alvaro 
does not enter till 622. " Exeunt." 

n.i. The scene is in Pisaro's house. " Proude am I, that my 
roofe containes such Friends" (726). During the scene the 
stage direction "Knock within" occurs {772), and Pisaro says, 


2i6 NOTES 

" Stirre and see who knocks ". Immediately follows the stage 
direction, " Enter Haruie, W'algraue, and Heigham ". Pisaro 
bids "Mall, in and get things readie" (803), and says to Mathea, 
" get you in ". " Exeunt " to dinner. 

II. ii. Paul's Walk. This is evident from Frisco's remark in 
I.ii. 339, " I must to the Walke in Paules ", and from the open- 
ing speech of this scene. " Enter Anthony." " Exeunt." 

Il.iii. The scene is a room in Pisaro's house. The characters 
enter the stage from the dining-room after dinner. Successively 
most of them " exeunt " to other parts of the house. Some come 
back again. Later Pisaro, Alvaro, Delion and \"andalle " Ex- 
eunt " " to the Rose in Barken for an hower ", leaving probably 
by a different door from that used during most of the scene. At 
the end of the scene the stage direction reads " Exeunt " for 
Anthony and the girls, but they appear in the next scene without 
any direction for their entrance. 

Ill.i. Pisaro's opening words suggest outdoors, but everything 
else in the scene proves conclusively that it takes place in his 
house (" Mawdlin make fast the Dores, rake vp the Fire " 
(1295), etc.). At 1296 the stage direction reads " Knocke ", 
and Pisaro says, " Some looke downe below, and see who 
knockes " ; whereupon " Enter Moore " and later " Enter a Ser- 
uant ". As Moore leaves, Pisaro says, " Take heede how you 
goe downe, the staires are bad. Bring here a light ". Pisaro then 
bids his daughters " Gette you to your Chambers ". 

Ill.ii. A street (Cornhill). The words "take heede sir hers 
a post " probably refer to one of the pillars on the stage ( 1365-6). 

Ill.iii. Before Pisaro's house. " Ha, heere's the house, Come 
let vs take our stands" (1412-3). Alvaro enters saying. "Ah, 
. . . here be de huis of signor Pisaro. ... I shall knocke to de 
dore ", and the stage direction reads, " He knockes ". He prob- 
ably enters by the door on one side, crosses the stage, and now 
knocks at the opposite door. After he has gone off, Delion en- 
ters, saying and doing what Alvaro did. When he in turn has 
gone out, Frisco enters and is sent on his way by the three lovers. 
" Exeunt." 

NOTES 217 

I\'.i. A street. Frisco and two of the strangers wander about 
in the dark, lost. Frisco agrees to guide the strangers, saying 
aside, " I shall lead you such a iaunt, that you shall scarce giue 
me thankes for. Come sirrs, follow mee : now for a durtie 
Puddle ... or a great Post." They apparently walk around on 
the stage till Delion asks, "watt be dis Post?" and Frisco an- 
swers, " why tis the May-pole on luie-bridge going to West- 
minster", and (a moment later) "wee are now at the fardest 
end of Shoredich ". At the end of the scene they depart, led by 
a bellman, though no " exeunt " is noted. 

lY.n. Before Pisaro's house. In this scene the balcony is 
used or at least an upper window. Vandalle enters, announcing 
that he is before Pisaro's house. Then follows the stage direc- 
tion, " Enter Laurentia, ^larina, Mathea, aboue ". A conversa- 
tion ensues. Laurentia suggests aside to her sisters, " let's . . . 
draw him vp in the Basket, and so starue him to death this frosty 
night ". ]\Iathea holds him in conversation while Laurentia and 
i\Iarina go for the basket (" Sister, doe you holde him in talke, 
and weele prouide it whilst", 1683-5). Upon their return they 
apparently lower the basket (no stage direction), for Laurentia 
says, "There ]\L Hcigham [Vandalle pretends he is Heigham], 
Put your selfe into that Basket, and I will draw you vp " 
(1697-8). Vandalle gets into the basket and they pull him half- 
way up, leaving him suspended between the ground and the 
window. No " exeunt " noted. 

R'.iii. The scene is the same, without interval. Pisaro enters, 
saying, " For closely I haue stolne me foorth a doares " (1742), 
and supposing his favorites are in his house, " Heere He stay, 
And tarry till my gallant youths come foorth " (1758-9). " Enter 
Haruie, Walgraue, and Heigham." Heigham announces " this 
is the Dore " (1766), and later, when they have passed on, 
" Come backe, come backe, for wee are past the house, Yonder's 
Matheas Chamber with the light" (1771-2). "Enter ]\Iathea 
alone ", probably a mistake for " above ", since she says, " Who's 
there below?" After a few speeches, "Enter aboue ^Larina ", 
who asks, " Mathea who's below? " (1809). Then " Enter Lau- 

2i8 -V0T£5 

rentia " to her sisters. The English youths ask the sisters to run 
away with them. After six lines of dialogue by the men, Mathea 
speaks five lines, ending " Prepare your Armes, for thus we flie 
to vou " (1859), and the stage direction opposite the line is, 
" they Embrace ". Xo direction is given or hint in the text as to 
how the sisters are to get from the balcony to the stage. Possibly 
during the six lines of dialogue between the men they exeunt 
from above and enter below. From this point on, the action is 
certainly below on the front stage, for when all are together, 
Pisaro, who has been a witness to the preceding scene, joins in 
the action. " Exeunt Pisaro and Daughters ", Pisaro saying, " In 
baggages, Mowclie make fast the doore " (1904). The English 
youths and Anthony remain on the stage. Anthony dispatches 
Walgrave and Heigham in turn, and the stage directions confirm 
the conversation ("Exit Walgraue ", etc.). Anthony then says, 
" I heare him at the Window, there he is ", and the stage direc- 
tion reads, " Enter Pisaro aboue ". After an interchange of 
speeches, "Exit Haruie " and "Exit [Pisaro]". Anthony re- 
mains on the stage. " Enter Belman. Frisco, Vandalle, Delion. 
& Aluaro ". " Exit Belman." " Enter Pisaro below." Anthony 
asks, "what's yonder?" Frisco answers, "a Basket". It con- 
tains Vandalle and is hanging by a rope from the window. An- 
thony says, " He goe in and see. And if I can. He let him downe 
to you ". " Exit Anthony." " Enter Anthony aboue." The dia- 
logue shows that the basket is let down. Vandalle gets out. 
" Exeunt " (into the house). 

R'.iv. The scene is in Pisaro's house. " The Dores are lockt, 
your Father keepes the Keyes, Wherefore vnpossible to scape 
away " (2145-6). " Enter the three Sisters." " Enter Anthony." 
" Exeunt." 

R'.v. This scene is also in the house. " Enter Pisaro and 
Frisco." Pisaro says, " see who ringes : looke to the Dore. Let 
none come in I charge ". " Enter \\'algraue in Womans attire." 
" Enter Anthony." " Exeunt Antho. & Walg." Pisaro and 
Frisco talk. At the end of the scene there is no " exeunt ", but 
they must go out. 

NOTES 219 

\'.i. The scene is the same. " Enter Anthony." " Enter 
Pisaro and Browne [and Frisco]." Pisaro bids Anthony "hie 
you to church". Although there is no stage direction, Anthony 
must go out, for later " Enter Laurentia in Anthonies attire ". 
She also goes out (without stage direction). "Enter Haruie 
brought in a Chaire, Moore, Browne, Aluaro, Vandalle, Delion, 
and Frisco." This may be either a discovery made by drawing 
the curtains of the inner stage or a genuine entry as in King Lear, 
IV.vii (" Enter Lear in a chair carried by servants"). Appar- 
ently Harvy is carried in, for Pisaro says, " Lift softly (good my 
friends) for hurting him" (2360). "Exit Frisco." "Enter 
Alarina and Frisco." Frisco goes out (without stage direction). 
" Enter Anthonie." " Knocke." Pisaro says, " Looke downe 
who knockes ". " Exit Antho." " Enter Frisco." " Enter 
Heigham, Laurentia, Balsaro, & Anthony." " Exit Frisco." 
" Enter Frisco." " Enter Mathea, and Walgraue in Womans 
attire." The play ends with Pisaro's speech, " Come let us in", 

The Actors names. The following variants occur in O2 and 
O3 : The Actors names.] The Actors names. Q3. Portingale] 
Portugale Q2 etc. Daughters] Daughters O2 etc. Schoole- 
maister] Schoolemaster O2 etc. Haruie] Harvy Q;^. or 
Heigham] or Heigham Q3. Aluaro] Alvaro O3. 3. daughters] 
three Daughters Q3. M.] M. O3. Marchant] ^Merchant O2 
etc. Balsaro] Balsaror O3. a Clothier] a Clothier Q2 etc. 

I. smugge. The word is usually used of persons and has the 
meaning "trim, neat, smooth, fair", etc. See below, 1. 2193. 
Cf. however, Dekker, Wonderful Year (Wks., ed. Grosart, I, 
84), " The skie . . . lookte smug and smoothe. . . ." 

45. prunde. Prune is to preen, to dress or trim, as birds their 
feathers. So in Shakespeare, / Henry IV, Li. 98. 

60. modestie, moderation, dullness (?). 

64. Hang vp Philosophy. To hang up is to put aside in disuse. 
The 1830 editor quotes Rom. & Jul., IILiii. 

220 NOTES 

Hang up philosophy! 
Unless philosophy can make a Juliet . . . 

/I. this is thine from Ferdinand. The gift is a purse contain- 
ing some coins. 

75. As often as these, etc., /. e., as often as the gloves hide her 

86. distinct. The sense seems to demand " extinct " or " ex- 
tinguished ". 

109. IVhy zi'as I made a Mayde, hut for a Man? Cf. Ballad 
Soc, VIII (Supl.), p. I, "Why was I borne to Hue and dye a 

127. villainc. In Qi the letters in have been transposed. 

128. conuersions, conversations? This meaning is not in NED, 
131. flurgill, a light woman. Cf. Rom. & Jul., II. iv. 162, 

" Scurvie knaue, I am none of his flurt-gils ". See NED. s.v. 

131. minion, saucy woman. 

141. Did I retaine thee (villaine) in my house, etc. Cf. A 
Knack to Know An Honest Man, IMalone Soc. Rpt., 1. 27, 
" Haue I retaind thee caitife in my house ", etc. 

154. Brezvesse, a kind of (thickened) broth ; or, " bread soaked 
in boiling fat pottage, made of salted meat ". NED. and N. & Q., 
5th Ser. IV. 316. 

160. Essex Cheese. This variety of cheese does not occur in 
the exhaustive monograph by C. F. Doane and H. W. Lawson, 
Varieties of Cheese: Description and Analyses. Washington, 
Gov. Printing Office, 1908 (U. S. Dept. of Agriculture, Bureau 
of Animal Industry, Bulletin 105). 

175. / am Dogg at this, experienced in or adept at. Grim the 
Collier of Croydon (Dodsley, \TII, p. 418) has, " I am an old 
dog at it ". Cf. the present English "shark ". 

213. now. This would indicate that the foreigners were simply 
a device to prevent a match with the three English lovers. But 
Pisaro has already sent for a tutor to teach them the strangers' 

215. stranger, foreigner. The misunderstanding of this word 
has led to some idle comments. Cf . below, 1. 382. 

NOTES 221 

225. Exchange. The Royal Exchange, founded by Sir Thomas 
Gresham and opened Jan. 1571 ; called the "burse" in 1. 583. 
The 1830 editor quotes from Heywood's // Vou Know Not Me, 
Part II: 

Proclaim through every high street of this city 
This place be no longer called a Burse, 
But since the building's stately, fair and strange, 
Be it for ever call'd the Royal Exchange. (Sig. H2) 

It was the natural place for Pisaro to meet the foreigners. 
Thither merchants congregated from all quarters of the earth. 
Dekker alludes to this circumstance when he says, "At every turn 
a man is put in mind of Babel, there is such a confusion of lan- 
guages ". 

230. Tower-hill, the high ground to the northwest of the 

233. Crochcd-Fryers, between Jewry Street, Aldgate and 
Mark Lane. 

239. fadge, succeed, thrive, " come off ". 

250. compasse, meaning both to embrace and get within one's 

251. mediocritie, used in the double sense of (i) moderation, 
temperance, and (2) "a quasi-technical term, with reference to 
the Aristotelian theory of ' the mean ' " (NED.). 

314. smell. The NED. defines, "to detect, discern, or dis- 
cover by natural shrewdness, sagacity, or instinct ; to suspect, to 
have an inkling of, to divine ". Cf. 1. 434. 

334. Red-Herring Cobbes. Cob is defined in the NED. as 
" The head of a (red) herring". Cf. Nashe, Unf. Trav. (Wks., 
ed. AIcKerrow, II, 209), " Lord high regent of rashers of the 
coles and red herring cobs ". Red-herring is also slang for sol- 
dier. Cf. below, 1. 1556. 

334. stock-Fish, dried codfish, etc. Used by Shakespeare (/ 
Henry IV, II. iv. 275) as a contemptuous epithet for a thin person. 

340. and so foorth. This is probably a cue for improvisation. 
Other cases occur probably at lines 534 and 1575 (" and so 
forth", " Some more of this "). 

222 NOTES 

381. s.d. Aluaro does not enter. This is evident from i. 407. 
He enters at line 623. 

382. Good morrow, M. Strangers. Cf. note to line 215. The 
1830 editor has a mistaken note, p. 17, suggesting that Pisaro is 
here " probably addressing the ' other merchants ', as he knows 
Delion and \'andal ". He is, of course, addressing the foreigners. 

413-4. Printed as prose in all editions, but really verse. 

420. This " good news " idea occurs frequently. Cf . lines 657, 
1266, 2305-6, etc. 

459. pitch ore the Pearch, die. The NED. quotes from Hak- 
luyt's Voyages, " Some drugge that should make men pitch over 
the perch". 

472. in sadness, really, seriously. 

528. shooles. For " shoal " used for a flock of birds, see quo- 
tations in NED. 

534. and so forth. See note to line 340. 

551. Crack-rope boyes. Crack-rope is gallows-bird, rogue. 
" There was a crack-rope boy ", Tarleton's Jests, Shakes. Soc, 
vol. 44, p. 19. The word also occurs in Wily Beguiled, Malone 
Soc. Rpt., 1. 313. 

578. in place zvhere. Cf. Love's Labours Lost, Li. 240, " But 
to the place where ". 

582. patch, fool or clown. 

583. and I had him of the burse. The primary sense of " of " 
was " away, away from ". 

591. besctte, surround (with hostile intent), assail. 

601. Tis Midsomer-Moone with him. Olivia in Twelfth Night, 
ni.iv. 61, says to Malvolio, " Why this is verie Midsommer mad- 
nesse ". The NED. gives a quotation from the Marprcl. Epit. 
(1589), " Whether it be midsommer Moone with him or no ". 

616. His heart zi'as not confcderat with his tongue. A note on 
the fly-leaf of B directs attention to Richard II, \\iii. 53, " My 
heart is not confederate with my hand ". 

631. within the lurch of, in the power of. 

632. Cattcrpillcr brood of Spaine. " Catterpillers " as a term 
for rogues and vagabonds is used by Rowlands in Martin Mark- 



All, 1610: "The congreg-ation of catterpillers gathered together"; 
it also occurs in the titles to two anonymous seventeenth-century 
pamphlets. See Chandler, F. W., Lit. of Roguery, 1907, I, 115. 

658. The Exchange Bell rings. " On the south or Cornhill 
front [of the Exchange] was a bell-tower. . . . The bell, in 
Gresham's time, was rung at twelve at noon and at six in the 
evening." W'heatley and Cunningham, London Past and Present, 
III, 182-3. 

669. cogge, employ fraud or deceit ; cheat. 

691. If Ned is omitted the line would read, " Nay prethee 
Walgraue lets bethinke our selues ". This would be a good blank 
verse line. With Ned in it the line \vill not scan. Perhaps 
Haughton wrote Ned and then, seeing that a two-syllable word 
was needed, inserted ]Valgrave instead. The printer copied both. 

700. that's Hat. The expression occurs in JVily Beguiled, 1. 433. 

735. guyse, custom, habit, fashion. 

736. slauering. The word probably has here its ordinary 
meaning, as the sense '' kissing " is rare. 

746. depeteta = de (the) petite; becues = ? fra = frele? 

769. stomachs, pride. 

777-7^5- Cf. 11. 451 and 605-8. 

805. you sullen Elfc, you Callet. Elfe is here used as a term 
of reproach not exactly paralleled by any use recorded in the 
NED. Callet as a term of abuse is equivalent to " strumpet ", 
perhaps sometimes " scold ". 

812. JVill poll you, I and pill you. ... To "poll and pill (lit. 
to make bare of hair and skin too) ; . . strip bare . ." (NED., 
s.v. Pill, ^'^, 9). Stubbes, Anatomy of Abuses {Netv Shakspere 
Soc., 1882, Part II, p. 46) says: "The monie which they have 
vniustlie got with the polling and pilling of the poore, shall rise 
vp in iudgment against them. . . ." 

843. Stoad, Stade(?) on the Elbe, 22 miles below Hamburg. 
Cf. "At Hamburg the 19. of November, and at Stoad the ninth 
of December . . ." in an account of a traveler from Constan- 
tinople to London, printed by Hakluyt, Voyages, 12 vols., 1903-5, 
VI, 58. 



853-4. sometimes the blind, etc. Two proverbs are combined. 
Skeat, Early English Proverbs, p. 87, quotes " as a blind man 
stert an hare" from Chaucer's House of Fame (681) and the 
Scotch proverb, " By chance a cripple may catch a hare ". The 
Blind Eats Many A Fly was the title of a lost play by Thomas 
Hey wood, 1602. 

869-70. bate an Ace of his wish. " To bate an Ace of " is ex- 
plained by the NED. (s.v. Ace) as " To abate a jot or tittle, to 
make the slightest abatement ". 

880. Freeze, a kind of coarse woolen cloth with a nap on one 

883. Duke Humfrie. " The phrase of dining with Duke Hum- 
phrey, which is still current, originated in the following manner : 
Humphrey, duke of Gloucester, though really buried at St. Al- 
ban's, was supposed to have a monument in old St. Paul's, from 
which one part of the church was termed Duke Humphrey's 
Walk. In this, as the church was then a place of the most public 
resort, they who had no means of procuring a dinner, frequently 
loitered about, probably in hopes of meeting with an invitation, 
but under pretence of looking at the monuments." Nares' Glos- 
sary, ed. Halliwell and Wright, London, 1859, I, 262. 

884. Cammileres. Ital. camerale, belonging to the chamber, or 
cameriere, valet, groom ( ?) . Possibly a mistake for cavaliers. 
See spellings and quotations in NED. 

887. So-lame-men . . . etc. The 1830 editor notes " Solamen 
miseris socios habuisse doloris ", but I cannot locate the quota- 

896-8. Anthony contrives by his use of ink-horn terms to let 
Frisco know he is a pedant. And Frisco does, for he remarks, 
" They say, a word to the wise ", etc. 

910. Nella slurde Curtezana. Slurde may be a mistake for 
lurda (for lorda), foul, impure, lewd. 

933-5, Several efforts were made towards the close of the six- 
teenth century to unite certain East India trading companies and 
form a monopoly, but I cannot find any such attempt before 1598. 
See Blok, P.J., Hist, of the People of the Netherlands, Eng. tr., 
vol. Ill (1900), pp. 289 ff. 

NOTES 22- 

944. clog'd, encumbered. A clog is a clumsy piece of wood 
(sometimes tied to the leg of an animal to impede its motion). 

958. a Mouse in cheese. The expression is found in the phrase 
" to speak like a mouse in cheese ", i. e., with a muffled voice ; 
but such, a sense hardly applies here. 

983-4. For you I bred them, etc. Gripe, the usurer in Wily 
Beguiled, says under somewhat similar circumstances : " My 
daughters mine to command, haue I not brought her vp to this? 
She shal haue him: He rule the roste for that. . . ." (M^lone 
Soc.Rpt, 11. 373-6). 

989. braue. Here = handsome or finely dressed; in line 1239 
it means excellent. 

997. posde, placed in a difficulty with a question or problem ; 

1002. muses. The meaning of this line is clear, but the use of 
muse is unusual. 

1025. epurce, et pour ce. 

1039. on a merry pin, in a merry humor or frame of mind. 

1 131. meet, be even with. 

1 142. a IVoman is like a Weather-cocke. Field's comedy with 
a form of this proverbial phrase as a title belongs to the year 161 1. 

1 176. galliarde, "valiant", lively, gay. 

1202. Bucklersburie, a street noted in Haughton's time for its 
grocers and apothecaries. Cf. also 1. 2083. 

1206. the Rose in Barken. The Rose Tavern in Barking was 
destroyed in 1649 by an explosion of gunpowder two doors away. 
The accident is described by Strype (quoted in Wheatley and 
Cunningham, I, 31). 

1209. budget, head, mind. 

1232-3. out of all scotch and notch, excessively. (Cent, and 

1247-8. A IVoman right, still longing, and with child, For 
euerything they heare, or light upon. With child = " Eager, 
longing, yearning (to do a thing)". (XED. s.v. child, 17c.) Cf. 
the quotation from Udall, " The man had of long tyme been with 
chylde to haue a sight of lesus ". These two lines in modern 

226 NOTES 

English would be : A very woman, always longing and yearning 
for everything she hears of or lights upon. 

1249. mad, "Carried away by enthusiasm or desire; ... in- 
fatuated ". Cf. 1. 1361. 

1272. quit, requite. 

1273. / may lead Apes in Hell, and die a Mayde. For this 
fanciful notion, cf. London Prodigal (Sig. I, 2) : 

' 'Tis an old proverb, and you know it well, 
That women dying maids lead apes in hell.' 

1275. huddles, ordinarily means "A miserly old person; a 
hunks" (NED.). 

1275. a heape of merrie Lasses. This use of " heap " is as old 
as Beowulf. 

1287. Nights candles burne obscure. Cf. Rotn. and Jul, III.v. 
9, " Night's candles are burnt out ". 

1296. Bow-bell rings. The bell of the church of St. Mary Le 
Bow (commonly called "Bow Church") on the south side of 
Cheapside, in Cordwainers' Ward. Stow (p. 96) says, " In the 
year 1469 it was ordained by a Common Council that the Bow 
Bell should be nightly rung at nine of the clock ". Cf. 1. 1338. 

1316. she shall lye zvith you, Trust me she coidd not come in 
fitter time. Pisaro seems to forget that this would interfere with 
his plot concerning the foreigners. 

1 38 1, waer sidy, where are you. 

1396. Noddy, fool, simpleton. 

1406-7. chaft, idle talk; Houtes, mocking speech or action; 
guiles, tricks, deceptions, false reports. 

1425. cranke, bold, forward (aggressively). (NED.) 

1431. Bastinado, a stick or cudgel; a blow with one. 

1440. Leadenhall Street runs from Cornhill to Aldgate. 

1442. the four Spoutes. At the junction of Cornhill and Lea- 
denhall Streets a water-standard, with four spouts, was erected 
in 1582 for water brought from the Thames by an artificial forcer. 
It was " an object of such mark that distances throughout Eng- 
land were measured from it as the heart of the City ". See 
Wheatley and Cunningham, I, 457-8. 

NOTES 227 

1455. alle, Fr. aller, go. 

1483. Fanchurch-strecte, runs from Gracechurch Street to Aid- 
gate. This is approximately where Peter Houghton lived. Cf. 
Intro., p. 9. 

1494. natural. Perhaps a play upon the meanings " native " 
and " fool ". 

1507. Frisco has not heard all of Pisaro's plot and does not 
know that the foreigners were to come pretending to be the Eng- 
lish lovers. Consequently he says Master Vandal when he should 
have said Master Heigham. 

1 53 1, hangling, petty, frivolous contention. Altered in Q3 to 
hrangling (noisy and turbulent disputing). 

1534. hold, bet, wager. 

1536. out his Compasse & his Card, has lost his bearings. 
" The Mariners Card ... is none other thing but a description 
... of the places that be in the Sea or in the land next adioyning 
to the Sea, as Points, Capes, Bayes." (T. Blundeville, Exercises, 
1594, quoted NED.) 

1548. Woodcocks, fools, because the woodcock was supposed 
to have no brains. 

1555. Blacke-pudding, "A kind of sausage made of blood and 
suet, sometimes with the addition of flour or meal ". Cf. Ful- 
wel's Like Will to Like, " Who comes yonder puffing as whot as 
a black pudding ". (NED.) 

1556. / atn a Red Herring. Cf. note to 1. 334, but the sense 
here seems somewhat peculiar. 

1562. andcr. It. andare, go. 

1565. M. Pharoo, Alvaro. 

1575. Some more of this. See note to line 340. 

1597-8. London-stone. " On the south side of this high streete 
[Canning Street], neare vnto the channell is pitched vpright a 
great stone called London stone, fixed in the ground verie deepe, 
fastned with bars of iron, and otherwise so strongly set, that if 
Cartes do run against it through negligence, the wheeles be 
broken, and the stone it selfe vnshaken. The cause why this 
stone was there set, the time when, or other memorie hereof, is 
none. . . ." Stow, ed. Kingsford, I, 224. 

228 NOTES 

1604-5. ^^^^ May-pole on luie-bridge going to Westminster. 
" Ivie bridge [Strand] in the high street, which had a way under 
it leading down to the Thames, ... is now taken down, but the 
lane remaineth as afore or better, and parteth the liberty of the 
Duchy and the City of Westminster on that South side." (Stow, 
quoted Wheatley and Cunningham, II, 270-1.) The May-pole in 
the Strand stood on the sight of the present church of St. Mary- 
le-Strand. (lb. II, 517.) Cf. 11. 1609-10. 

1615. Blezsj Bore in the Spittle. A " Cookes house called the 
blew Boore" is mentioned by Stow as in "Queene Hithe Warde" 
(Surz'ey, ed. Kingsford, II, 2). 

1647. ic weit neit waer . . , , I know not where. 

1660. Mammet = Maumet, literally " an idol ". As a term of 
abuse applied to persons, cf. Rom. & Jul., III.v. 186, "A wretched 
puling foole, A whining mammet ". 

1682. starve. In England " starve " is still used in the sense 
of " to kill with cold ; benumb ". 

. 1719. An Almond for Parret, Nashe's An Almond for a Par- 
rat, was first published 1590. Rptd. in the invaluable edition of 
Nashe by McKerrow, vol. Ill, pp. 339 ff. 

1740. skellum. (Dutch schelm) a scoundrel. 

1769. spume, kick. Cf. Com. of Er., II. i. 83, " That like a 
football you do spurn me thus?" 

1789. JValg. Should be Heigham. 

185 1. Theres a sound Card at Maw. Maw, "An old game at 
cards. It was played with a piquet pack of thirty-six cards, and 
any number of persons from two to six formed the party ". 
(Halliwell, quoted NED.) 

1859. 7ve Hie to you. For staging, see discussion at the head 
of these notes. 

1889. You take Tenn in the hundred more then Law. The 
legal rate of interest at this time was ten per cent. Cf. 11. 2322-3. 

1896. the Crosse in Cheape. "Cheapside Cross (one of the 
twelve crosses . . . erected by Edward I. to Eleanor, his queen) 
stood in the middle of the street, facing Wood Street End." 
(Wheatley and Cunningham, I, Z?^-) 


1970. Vandalle does not enter with the rest. He is in the 

1987. vaine toyes, trifles. 

2007. firkes, go off or fly out suddenly. Qy: used elsewhere 
in this sense with a non-reflexive object? 

2026. Figure, a ridiculous person or matter(?), the appear- 
ance of some one in a ludicrous condition ( ?). (See NED. s.v., 
senses 5b and 7b). 

2044-6. the signe of the Mouth without Bishops gate, etc. "A 
seventeenth-century trade token was issued from a house with 
the sign of the Mouth in Bishopsgate Street, and the Mouth ap- 
pears in the rhyming list of taverns, which is to be found in 
Heywood's "Rape of Lucrece " [Mermaid Ed., p. 365.]" Nor- 
man, P., London Signs & Inscriptions, Lend., 1893, P- 64. 

2049. Mahomets Sepulchre. " It is said that Mahomet's cofiin, 
in the Hadgire of Medina, is suspended in mid-air without any 
support . . . the coffin is not suspended at all." (Brewer, E. C, 
Diet, of Phrase & Fable, s.v.) It is alluded to in Nashe's Unf. 
Trav. (Wks., ed. McKerrow, II, 249), 

2090. Canning streete, originally Candlewright or Candlewick 
Street, later Canwick, Canning and, ultimately, Cannon Street. 
See Stow, ed. Kingsford, II, 313. 

2173. spitted, roasted on a spit. 

2174. Bakemeats, pastry, pies. Cf. Genesis, 40: 17. 

2176. Past, a doughy substance. Shakespeare has (Lear, II. iv. 
124) " as the Cockney did to the Eeles, when she put 'em i'th' 
Paste aliue ". 

2207. Ferret, " a half-tamed variety of the common polecat, 
kept for the purpose of driving rabbits from their burrows, de- 
stroying rats, etc ". (NED.) 

2216. a Pad in Straw, a lurking or hidden danger. (NED.) 

2247. Something seems to have dropped out after this line. 

2267. London Kitchinstuffe. Nashe uses " kitchin stuffe " as 
" refuse of the kitchen, dripping ". (Wks., ed. McKerrow, 

2284. Pin-fold, place for confining stray cattle, etc. 

230 NOTES 

2290. See note to line 2496. 

2403. Exit Frisco. Added 1830 ed. 

2442-3. Oyime che haxiessc allhora appressata la mano al niio 
core, 6 suen curato ate, I che longo sei tu arriuato, cieli, o terra. 
These two lines of obscure Italian are very difficult. The 1830 
editor changed suen to suem, and arriuato to avinato, succeeding 
only in making matters worse. For an admirable emendation 
and explanation of the passage I am indebted to Prof. Em. 
Monaci, of the Univ. of Rome, and to the courtesy of my friend, 
Dr. \'incenzo di Santo. Prof. Monaci writes : " II passo oscuro 
. . . credo che sia doMito alia imperizia del tipografo inglese 
nella lingua italiana, e sospetto che la lesione originaria sia stata 
suppergiu questa : ' Oime, chi avesse allora appressato la mano 
al mio cuore [o suenturato a te (oh te sventurato)], i (in) che 
luogo sei tu arrivato! oh cieli! oh terra!' " The longo he ex- 
plains is for longo, and the order of the letters is not an error of 
pronunciation but is due to a transposition of the two. The lines 
might be Englished: Alas! [Thou] who might have then drawn 
thy hand near my heart, Oh thou luckless one, into what place 
art thou come (arrived) ! Oh Heavens! Oh Earth! 

2454. cottens, prospers, succeeds. 

2496. the marriage rites are done. In the Elizabethan Age a 
betrothal before witnesses and with the consent of the parent (s) 
or a trothplight sealed by the parties living together (or its equiv- 
alent) was as binding as an actual marriage ceremony and was 
often loosely referred to as a marriage. Cf. 1. 2601 and Shakes- 
peare, passim. On this whole subject, see Howard, G. E., A Hist, 
of Matrimonial Institutions, 3 v., Chicago, 1904, vol. I, Ch. viii 
and IX. 

2512. Bride-well. Of this famous prison, see the description 
in Dekker, II Honest JP'hore (Wks., II, 167), too long to quote 

2553. canuast. So Qi. The reading is not quite free from a 
suspicion of corruption, though the NED. gives as meanings of 
canvass (4d and 5) "To debate; to discuss" and " ? To bar- 
gain or deal with ; to sound or try as to their expectations ". The 

NOTES 231 

last sense would especially suit the passage in the text. The word 
may, however, be an error for "conuerst" to which Q3 changes it. 

2560. familiar, spirit, demon. 

2562. the Gout. A characteristic ailment of the Elizabethan 
usurers. Why usurers should be especially subject to this disease 
is not clear unless it be because of high living and little exercise. 
Nicholas Breton in his Crossing of Proverbs, Part II, says : 

" Q. How doth ease breed the Gout? 
A. By lack of motion of the members." 

(Works, ed. Grosart, Chertsey Worthies' Library, 2 vols. (1879), 
vol. II (page II of this text). 


Allhallows Staining, 22 

Anatomy of Abuses, 84 

Arcadian J'irgin, 60, 86 

Ardcn of Fevcrsham, 46, 48, 50 

Aristophanes, Clouds, 35;t 

Atalanta, 60 

Babes in the Wood, story of, 49, 

50, S3 
Basket story, 31, 33-5 
Bayne, R., 27H, 43 
Beech's Tragedy, 47-60 
Belman of London, $gn 
Black Book, sgn 
Blew Bore in the Spittle, 228 
Blew Cap for me, 2>2) 
Blind Beggar of Bednal Green, 

Borne, W., 79 
Bow-bell, 226 
Breton, N., The Good and The Bad, 

Bull, the hangman, 58-9 
Cambridge, 15, 16 
Chapman, G., 35, 61 
Chaucer, G., 35;;, 62, 
Chettle, H., 14;;, 18, 21, 50-2, 55-7, 

59-65, 70-1, 77, 81, 84, 86, 89 
Child, C. G., 29 
Clink, prison, 8, 20, 21, 80 
Collier, J. P. 47, 49 et passim 
Comedy of London life, 39-41, 87 
Conquest of the West Indies, 81-82 
Conqueste of Brute, 61 
The Constant Maid, 42 
Cox of Collumpton, 47, 86 

The Coy Cook Maid, 33 

Crack-rope boyes, 222 

Creizenach, W., 79, 82, 84 

Croched-Fryers, 221 

Daborne, R., 21 

Daniel, S., 66 

Day, J., 18-19, 46-52, 55-61, 67-8, 
70-71, 80-4. 89 

Dekker, T., I4«, 1&-19, 41, 46, 56, 
60-70, 84, 88-9 

Deloney, T., 83-4 

Derrick, the hangman, 58-9 

The Devil and His Dame, i8n, 74-7 

De Vitry, J., 31 

Disguise, 31, 35-6 

Drayton, M., 14 

Duchess of MaW, 53 

Earl of Essex, 59 

English Fugitives, 72-7^ 

Englishmen for My Money, 17, 24; 
entries in Henslowe, 24-5, et 
passim; entered on Stationers' 
•Register, 25; editions, 25-6; date, 
26; question of revision, 26-7; 
title, 28 ; plot, 29 ; sources, 30-6 ; 
characters, 36-9; first realistic 
comedy of London life, 39-41; a 
usurer play, 41-2; critical esti- 
mate, 43; allusions, 44-5; versi- 
fication, 45 ; staging, 215-9 

Essex Cheese, 220 

Every Man in His Humor, 41 

Every Man out of His Humor, 66 

Fair Maid of the Exchange, 42 

Faithful Shepherdess, 60 




Fanchurch Street, 227 

F err ex and For rex, 72 

Fleay, F. G., 29, 50, 55, etc. 

Fortini, P., 34 

Fount of New Fashion, 61 

Friar Rush, 34 

Friar Rush and the Proud Woman 

of Antwerp, 84 
Gammer Gurton's Needle, 84 
Gay ley, C. M., 41, 92 
The Gentle Craft, 84 
Good Ale for My Money, 28 
Gorboduc, 72 
Gout, 230 

Gratiae Theatralcs, 74 
Greene's Tu Quoque, 42 
Greg, W. W., 18, 52, 54-5, 60-1, 70, 

73-5, 77, 84, 86, 92 
Grim the Collier of Croydon, 70n, 


Gull's Hornbook, 59« 

Hangman, of London, 58-9 

Hart, A., 92 

Harvey, G., s8n 

Hathway, R., 18-20, 83 

Haughton, Alice, wife of dramatist, 

Haughton, Dorothy, n 

Haughton, Drayner, li 

Haughton, Eliz., 12 

Haughton, Isabell, n 

Haughton, John, 9 

Haughton, Peter, 9 

Haughton, Sir Robert, 10 

Haughton, William, dramatist, earl- 
iest reference to, 7; imprisoned in 
Clink, 8, 20; first name, 13; 
spelling of last name, 13; date of 
birth, 13-4; Cambridge, 16; dra- 
matic career, 17 ff. ; periods of 
inactivity, 19; death, 21; will, 21- 
22; other records, 23. For plays, 
see under separate titles. 

Haughton, various Williams, 11, 

12, 16 
Haughton family, 8 
Henslowe, P., 7, 17, 47, 89, etc. 
Henslowe's Diary, 7, 17, etc. 
Heywood, T., 19, 20 
Historie of the Collyer, 76 
The Hog Hath Lost His Pearl, 42. 
Hoghton, Adame de, 8 
Honest Whore, 69 
Horton, Joan, I4« 
Houghton, Henr>', 11 
Houghton, J., 22 
Houghton, Mary, gn 
Houghton, Sir Richard, I2« 
Houghton, Thomas, gn, I2n 
How A Man May Choose, etc., 44, 

Hunt, M. L., 64, 68 
Hypocritas, 34 
// You Know Not Me You Know 

Nobody, Part //, 28, 44 
Improvization, 221 
Ink-horn terms, 224 
Interest, legal rate of, 37, 228 
Italian Tragedy (Day), 50-4 
Italian Tragedy (Smith), 53 
Jessica-Lorenzo story, 31 
Jests to Make You Merry, ^gn 
Jew of Malta, 3IM 
Jonson, B., 14, 19, 35, 40, 61, 62, 

84. 88 
Journalistic drama, 87 
Judas, 18, 73, 79 
Kemps Nine Daies Wonder, 59, 

King's English, 2(>-7 
A Knack to Know an Honest Man, 

31 " 
Langton, Wm., 15-6 
Law, Matthew, 51 
Lay Subsidies, 23 
Leadenhall Street, 226 



Lee, A. C, 2,2 

Lee, Sir S., 28 

Lee Hall, I2« 

Lewes, Eliz., 22, 22) 

Lodge, T., 2,7, 66 

London for My Money, 28 

London-stone, 227 

Lust's Dominion, 67-70 

Lyly, J., 29, 40 

McKerrow, R. B., 12, 92, etc. 

Maid's Metamorphosis, 29 

Manningham, Diary, 28 

Marlowe, C, 67 

Marriage customs, 230 

Massinger, P., 21 

A Match At Midnight, +2 

Matthews, Augustine, 26, 92 

May-pole, 228 

Merchant of Venice, 31 

Merry Wives of Windsor, 27, 40, 41 

Mi£haehnas Term, 42 

Middleton, T., 42, 59", 87, 88 

Midsomer-Moone, 222 

Milton, his grandmother, 10 

IMonaci, E., 32n, 230 

Mtich Ado About Nothing, 63 

Munday, A., 14, 18-9, 86 

Murder play, 46, 47 

Nash, T., 27n, 58H 

National Motive, 31-3 

A New Way to Pay Old Debts, 42 

Northward Hoe, 64 

Norton, John, II., 26, 92 

Old Fortunatus, 69 

Orphans' Tragedy, 50, 52-4 

Othello, S3 

Oxford, 15 

Page of Plymouth, 47, 61 

Pastoral, 60 

Patient Grissel, 41, 56, 60-7, 79 

Penniman, J. H., 65-6 

Pett, Mr., 77-78 

Pett, John 77 

Pett, Peter, 77-78 

Pett, Phineas, 78 

Pisaro, 29, 30, 33, 36-9 

Poor Man's Paradise, 17 

Porter, H., 29, 41 

Povah, A., 22n 

Raleigh, Sir W., 82 

Ralph Roister Doistcr, 29 

Realistic comedy, 39-41 

Robert, Earl of Huntington, 65 

Robin Goodfellow, 76 

Robin Hood, 86 

Robin Hood, Playe of, 80 

Robin Hood's Pen'orths, 18, 73, 80, 

Romeo and Juliet, 52-3 
Rose, in Barken, 2-25 
Rowley, S., 60, 79, 81, etc. 
Rowley, W., S9« 
Sackville and Norton, 72 
Satiromastix, 64-5, 69 
Schelling, F. E., 35, 39, 41, 46n, 

47n, 68, 75, 8in, 87 
Search for Money, S9« 
Seven Deadly Sins of London, 59/1 
Seven Wise Masters, 70-72 
Shakespeare, W., 27 
Shaw, R., 20, 25, 60, etc.. 
The Shoemakers' Holiday, 41, 64, 88 
Six Clothiers, I and //, 83 
Six Yeomen of the West, 82-83 
Smith, Wentworth, 19, 22, 81, 83 
Spanish Moor's Tragedy, 67-70 
Stage technique, 215-9 
Stoad, 223 

Stonebridge, C. J., 15 
Stonex, A. B., 31;;, 42H 
Stow, J., 20, et passim 
Strange News Out of Poland, 77-79 
Stranger, 220 
Stubbes, P., 84, 85 
Swinburne, A. C, 65, 68 
Thomas Merry, Tragedy of, 47-60, 86 



Thomas of Reading, 83 

Thrale, R., 26 

Titus Andronicus, 67 

Toldo, Prof., 32 

Tom Dough, 83 

Tom Stroivd, 81 

Tower-hill, 221 

Tragedy of Orphans, 50 

A Trick to Catch the Old One, 42 

Tzvo Angry Women of Abington, 

29, 40 
Tufo Lamentable Tragedies, 48-60 
Two Tragedies in One, 48-60 
Usurer play, 31, 41 
Vavesor, Thomas, gn 
Virgilius, 34 

Wallace, C. W., 9, 21, 23, 66» 
War of the Theatres, 66 

Ward, A. W., 68, et passim 

A Warning for Fair Women, 50 

Weever's Epigrams, 12 

Westward Ho, 6g 

Wheatley and Cunningham, London 

Past and Present, 21, etc. 
White, J., 92 

White, William, printer, 25, 26, 92 
The Widow's Tears, 35 
IVilliam Cartwright, 19, 85-6 
Wilson, Arte of Rhetorique, 27 
IVily Beguiled, 31 n, 32, 40 
A Woman Will Have Her Will, see 

Englishmen for My Money 
Wonderful Year, sgn 
Yarington, R., 48, 49, 50, 55-8 
Yorke, Yorke, for my monie, 28 





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